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The AIA Conference on Architecture 2023 #A23Con is heading
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MAY 2023
DEPARTMENTS
PROJECTS LIGHTING
12 EDITOR’S LETTER 99 Galaxy Digital, New York
56 Bokšto 6, Vilnius, Lithuania STUDIO
15 HOUSE OF THE MONTH: Muskoka SEILERN ARCHITECTS, WITH ARCHINOVA
YOUNG PROJECTS WITH THE SEED
Cottage, Ontario ATELIER KASTELIC BUFFEY By Chris Foges By David Sokol
By Alex Bozokovic 104 Products By Sheila Kim
62 Sandi Simon Center for Dance at
27 PRACTICE: Deborah Berke Partners Chapman University, Orange,
Relaunches as TenBerke By Leopoldo Villardi California LORCAN O’HERLIHY
31 GUESS THE ARCHITECT ARCHITECTS By Sarah Amelar
93 CONTINUING EDUCATION:
39 LANDSCAPE: IJboulevard, Amsterdam 68 Câmara Municipal da Trofa, Decarbonizing Concrete
VENHOEVENCS ARCHITECTURE+URBANISM Portugal NOARQ By Pansy Schulman THE DESIGN AND CONSTRUCTION INDUSTRY
By Will Jennings CHIPS AWAY AT THE MATERIAL’S
74 Yeh College and New College
ENVIRONMENTAL FOOTPRINT
42 IN FOCUS: Hammer Museum, Los West, Princeton, New Jersey
By Joann Gonchar, FAIA
Angeles MICHAEL MALTZAN ARCHITECTURE TENBERKE By Leopoldo Villardi
By Josephine Minutillo 116 Dates & Events
80 CODE, Charlottesville, Virginia
48 FIRST LOOK: Hermès Leather Goods ESKEW DUMEZ RIPPLE AND WOLF 120 SNAPSHOT: George Street Plaza &
Workshop, Normandy, France ACKERMAN By Deane Madsen Community Building, Sydney
LINA GHOTMEH — ARCHITECTURE By Andrew Ayers ADJAYE ASSOCIATES WITH DANIEL BOYD
86 Kunstwerf, Groningen,
By Ilana Herzig
Netherlands STUDIO DONNA VAN
PRODUCTS MILLIGEN BIELKE AND ARD DE VRIES
ARCHITECTEN By Andrew Ayers
20 TRADE SHOW: CEVISAMA By Andrew Ayers COVER: SANDI SIMON CENTER FOR DANCE AT CHAPMAN
UNIVERSITY, ORANGE, CALIFORNIA. BY LORCAN O’HERLIHY
23 Hardware By Sheila Kim ARCHITECTS. PHOTO © ERIC STAUDENMAIER.
BOOKS
24 Concrete & Masonry By Sheila Kim
THIS PAGE: BOKŠTO 6, VILNIUS, LITHUANIA. BY STUDIO SEILERN
35 One House Per Day, by Andrew Bruno
ARCHITECTS, WITH ARCHINOVA. PHOTO © ROLAND HALBE.
Reviewed by Leopoldo Villardi
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From the EDITOR
Second Acts
“I WAS EDUCATED during Gropius’s tenure at Harvard—when
Bauhaus Modernism reigned. We genuinely believed that function
came first. And I believe, if the function changes, then the building
has to change as well.” These were the words of Edward Larrabee
Barnes to Michael Maltzan more than 20 years ago when Maltzan—
whose firm was still quite young at the time—embarked on a decades-
long makeover of Barnes’s design for the Hammer Museum in Los
Angeles. That project culminated with the March opening of a new
entrance and new galleries (page 42).
While the changes at the Hammer Museum are subtle—it remains a
museum, just adapted to the current times—other buildings in this issue
PHOTOGRAPHY: © JILLIAN NELSON

have undergone complete transformations. Not far from the Hammer, in
Orange, California, a former orange-packing facility has been reimag-
ined by Lorcan O’Herlihy Architects as a center for dance. The inter-
vention in an historic warehouse, the last of its kind in what used to be a
center of the citrus industry, lets users experience the 1918 structure in
unexpected ways under its dramatic sawtooth roof (page 62 and on the
cover).
In the heart of the Old Town in Vilnius, a UNESCO World Heritage
Site in Lithuania’s capital, Studio Seilern Architects, a London-based
firm, gave new life to an abandoned 18th-century hospital comprising several derelict buildings,
now a mixed-use complex (page 56). Elsewhere in Europe, old buildings and neighborhoods are
being incorporated into new structures. In Groningen, the Netherlands, young architects Donna
Van Milligen Bielke and Ard de Vries tie their new building for performance spaces into the exist-
ing fabric of a former gasworks (page 86). And in Trofa, Portugal, José Carlos Nunes de Oliveira of
NOARQ literally wraps his new town hall around an old industrial building (page 68).
It’s not just buildings that have second acts. Sometimes architects do too, in a manner of speak-
ing. Deborah Berke talks to record about renaming her firm TenBerke (page 27). Interestingly, her
firm, which is so well known for its adaptive-reuse designs, has just completed its largest ground-up
project to date—new residential colleges at Princeton University (page 74). Berke remains commit-
ted, of course, to preservation, as are many architects who are well versed in the advantages of reus-
ing existing buildings rather than tearing them down.
Fortunately, this sustainable approach continues to make headway beyond the profession. In
April, the Biden administration announced a $450 million plan intended to kick-start a second act
for the U.S. economy by reusing existing fossil-fuel-powered sites and mine lands for renewable-
energy initiatives. The effort was inspired by Biden’s visit last summer to Brayton Point, a former
coal-fired power plant in Somerset, Massachusetts, that is shifting to offshore wind power. (Last
year, for the first time, wind generation supplied more than 10 percent of the nation’s electricity.)
As builders, architectural professionals are particularly aware of the climate crisis. This issue’s
continuing-education story (page 109) focuses on concrete, which, according to some estimates, is
responsible for 11 percent of global carbon emissions. The article highlights strategies that could
reduce this footprint and even transform the ubiquitous material into one that is carbon negative.
Lastly, record will pursue this and other ways of building better in our first-ever sustainability
summit on June 20 in Boston (see ad on page 53 for more information). We hope you can join us!
Josephine Minutillo, Editor in Chief
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HOUSE of the Month
ATELIER KASTELIC BUFFEY ENGAGES NATURE AND THE ONTARIO VERNACULAR FOR A RUSTIC LAKESIDE GETAWAY. BY ALEX BOZIKOVIC
WHEN THE FIRM Atelier Kastelic

Buffey (Akb) began work on a vacation home
north of Toronto, its clients’ first priority was
to engage with views of nature. And when
you walk into the 7,500-square-foot house, a
view is the first thing you see: a perfect slice
of a grove of conifers, revealed by a square
window and framed by protruding walls of
weathered cedar.
Such is the character of this house in
Ontario’s Muskoka region, designed as a get-
away for a family of five. The design brings the
outdoors in but balances the wilderness with
built spaces that are carefully proportioned,
precisely detailed, and rigorously minimalist.
The house draws inspiration from the
rustic building tradition of Muskoka, where
affluent city-dwellers have been building
lakeside “cottages” for a century. On the
exterior, Akb employed rough-sawn cedar
PHOTOGRAPHY: © SHAI GIL
boards and cedar shakes, common materials,

which are already fading to a gray that match-
es the site’s pre-Cambrian granite.
Roughly L-shaped in plan, the house
consists of a bedroom wing inland on the east
and a two-story gabled volume on the west, The L-shaped house (above) overlooks a lake, with the communal areas and deck (top) parallel to the shore.
15
HOUSE of the Month
with a rec room, gym, and guest bedrooms on ends of the gable are clad in the same cedar
the lower level, and a living/dining area, shingles as the roof, so that, from the exterior,
kitchen, and screened-in porch parallel to the the gable reads as solid and continuous—a
shoreline on the upper, main level. The latter Monopoly house resting atop the rectangular
features a deck overlooking the lake, sheltered volumes of the house.
by a deep roof overhang; Belgian-made glass Below this roof, the living spaces and
doors, 20 feet long, can slide open on warm screened-in porch stretch out harmoniously
days to connect the house with the outdoors. under a wood-clad ceiling that follows its
Polished-concrete floors offer a hardy surface form. A linear kitchen runs along the leeward
and, by retaining the sun’s heat at night, side. The line of the ceiling does not match the
contribute to the architects’ passive heating line of the roof above—it’s offset in order to hit
and cooling strategy. the central axis of the living room and porch,
The form draws on tradition: gabled-roof linking hefty concrete fireplaces at each end.
structures are typical here, says Akb principal The two gables are “intentionally different,”
Kelly Buffey. But Buffey and her firm, co- Buffey says, “to create different experiences as
THE COMMUNAL SPACE, clad in smoked founded in 2004 with her husband, Robert read from the outside versus the inside.”
European oak, includes a kitchen (above), Kastelic, added a twist. “Instead of treating This compositional effort—and the com-
living/dining area (top), and screened-in porch the gable roof as a planar element, as it typi- plex, hidden web of framing that bridges the
(opposite), flanked by fireplaces at each end. cally was, we’ve turned it into a mass.” The two offset gables—is almost invisible to the
occupants of the house. But the house’s relationship to the landscape is
clearly perceptible. In Muskoka, bedrock is right at the surface, creat-
ing a craggy landscape; Buffey explains that the local tradition is to 6 8
“perch” houses on top of the rocks. In this house, the bedroom wing is 5
built low between them. A large window in the primary bedroom
10 9
frames a close-up vignette of a granite outcropping sprinkled with 2 12
7
hardy pines. “You really are in the landscape,” Buffey asserts. 3 1
9 9
The interior finishes are, like the massing, deliberately modest. In 11
the communal rooms, the walls and ceiling are wrapped in hand- 4
brushed smoked European oak. This wood extends down the corridor
into the bedroom wing, where the boards share a finish but vary in 0 15 FT.
UPPER-LEVEL PLAN
width. The result is “a field condition,” Buffey says, rather than the 5 M.
consistent rhythm one might expect from wood paneling.
The four bedrooms, lounge, and office reflect a similar attention to 1 ENTRANCE DECK 5 SCREENED PORCH 9 BEDROOM
texture. Buffey, who is trained as an interior designer as well as an 2 FOYER 6 BAR 10 LOUNGE
architect, chose unpainted Venetian plaster for the walls and the ceil- 3 LIVING/DINING AREA 7 DECK 11 OFFICE
ings. The subtly textured surface evokes that of the rock just outside 4 KITCHEN 8 PRIMARY SUITE 12 MUDROOM CORRIDOR
the windows. “We do think about the things that your hand touches,
and how you react to that psychologically,” Buffey says. Credits SIZE: 7,500 square feet
For the bathrooms, Akb designed concrete vanities with integrated ARCHITECT: Akb Architects — Kelly COMPLETION DATE:
sinks. These, like the plaster walls, have slightly rough matte gray Buffey, design architect; Robert December 2022
surfaces, enforcing the careful uniformity of the interior. But all the Kastelic, technical architect; Aaron
gray is balanced by handmade Mexican ceramic tiles that offer a subtle Finbow, project architect
Sources
shimmer and a wavy, relaxed texture, very noticeable in a house where ENGINEERS: Moses Structural
WINDOWS & DOORS: Reynaers
Engineers (structural)
everything aligns. Here in the house’s most intimate moments, the GLAZING: AGC; Pilkington
GENERAL CONTRACTOR:
architecture displays its characteristic fine balance between rusticity HLD Muskoka OPERABLE GLASS: NanaWall
and polish. n INTERIOR WOOD: Moncer
CONSULTANTS: Ashley Botten
Design (interior design); Virginia Specialty Flooring (walls & ceilings)
Alex Bozikovic is architecture critic at The Globe and Mail in Toronto. Burt Designs (landscape) CONCRETE FLOORS: Düraamen
17
GUESS THE ARCHITECT
WIN A $500 GIFT CARD
PHOTOGRAPHY: © STELLARD, WIKIMEDIA COMMONS

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TRADE SHOW CEVISAMA
Canceled for two years—first for COVID, then the gas-
price crisis—one of the world’s most important ceramic
fairs resurfaced this year. Accompanied by Tile of
Spain—the brand of the Spanish Ceramic Tile
Manufacturer’s Association—Record traveled to
Valencia, Spain, to check out the trends.
BY ANDREW AYERS
Luca
A good 90% of the products shown at Cevisama 2023 featured
imitation-marble, -stone, or -wood looks. If you prefer your ceram-
ics to resemble ceramics, consider the eye-popping glazes of Luca
by the Valencia-based Vives. Available in various textures, for-
mats, and colors—including off-white, orange, and a blue eau-de-
nil—the beautiful firing imperfections evoke the 1970s with their
retro feel.
vivesceramica.com
Castello
Released by the brand Harmony, this was perhaps the most
architectural product at the fair. Designed by Madrid-based duo
Alberto Bejerano and Patxi Cotarelo of Dsignio, these ceramic
building blocks allow the construction of subtly striking room
dividers or outdoor partitions. Available in gray, white, and
terra-cotta, they arrest the eye yet allow the gaze through.
harmonyinspire.com
Concept
High-end manufacturer
Keraben has a number of
three-dimensional and
textured finishes among its
offerings, including this
handsome model from its
Concept series. The finish
shown is from their Bleuemix Croccante
As its name suggests, this range from Castellón-based
range, which reproduces the
Arcana looks good enough to eat. Available in all sorts of
effect of Belgian bluestone
pastel shades and patterns, these flat matte porcelain
(a limestone with a high
tiles with their terrazzo-nougat finish will imbue your
fossil content) and is avail-
interior with a Midcentury Modern feel—though the
able in gray (left) and taupe.
keraben.com nostalgia is tempered by a light, contemporary touch.
arcanatiles.com
Pop
Founded in 1992, Natucer
specializes in extruded
ceramics. Among their cur-
rent offerings is the hand-
some Pop range, whose bold
texture and strong colors will
add punch to any kitchen or
bathroom. Available in six
tones (including ochre, left),
they embody “the beauty of
artisanal imperfection,” in
the firm’s own words.
natucer.es
Sublime
Among the brands offering
high-strength, large-format
porcelain slabs is Museum,
with a range of stone-effect
finishes. So robust is their
Evoke
product, you can make furni-
Digital printing was all the rage at Cevisama this year,
ture from it, imitating the
though mostly used to mimic stone and wood. But, as
beauty of marble without the
Aparici’s Evoke (above) demonstrates, you can digi-
cost or fragility of the real
tally print anything. Instantly distressed walls, any-
thing. Iceberg Camouflage
one? Interestingly, the effect evaporates upon close
White marble and Cliff Oreo
inspection—it's like zooming in on an Impressionist
Gray stone (right) are from
painting.
Museum's Sublime range.
aparici.com
museumsurfaces.com
Nuer
Produced by high-end brand Living, which
turns 10 this year, the Nuer collection was
among the most beautiful and original tile
concepts on display during Cevisama
2023. Commissioned from Milan-based
Japanese designer Kensaku Oshiro, the
design is ingeniously simple: 60 x 120cm
ridged slabs, with ridge surfaces glazed in
different colors. The result: from one side
you see one hue, from the other a com-
pletely different tone, and in some models
more than one color at once in a subtly
Op Art effect. Nuer is available in eight
colorways such as sunset, marine, quartz,
and fog.
livingceramics.com
21
PRODUCTS Hardware
Hands on
The latest trends make the most of metal technologies
and ergonomics.
BY SHEILA KIM BY SHEILA KIM
Graphite Nickel Finish

Though matte and satin black are still popular finishes, some
manufacturers are exploring similar but warmer tones that recall
antique metals. Among them, Baldwin Hardware’s Graphite Nickel
PVD finish is now an option for the brand’s Estate Portfolio of
front- and interior-door hardware and cabinetry knobs and pulls.
baldwinhardware.com
Pebble Collection
As its name implies, Belwith Keeler’s new kitchen-hardware collec- Rectangular Suite
tion recalls the smooth surface and shape of a pebble to engage the This Ashley Norton line of
user’s sense of touch and provide a pleasing tactile experience. The entry and interior hard-
collection comprises asymmetrical cabinetry knobs and pulls, both ware offers an array of
in two sizes, and appliance pulls in five sizes. All are available in five rectangular escutcheons,
standard finishes. levers, pulls, knobs, and
belwith.com window hardware that run
the gamut in style from
traditional to transitional
and contemporary, to suit
every taste. All compo-
nents are handcrafted
using art-grade bronze or
solid brass in a wide range
of finishes.
ashleynorton.com
RIVIO Collection
Gensler has collaborated with Formani on
this line of ergonomic interior-door handles.
A cutaway on the front of the cylindrical body
allows the thumb and fingers to meet in a
comfortable fashion, giving the user a good
grip while presenting a pleasing sculptural
CareSecure
Microban International and the new
contour. Available as a curved or 90º lever,
CareSecure division of commercial glass-
RIVIO comes in stainless steel, bronze, and
door-hardware manufacturer T-Concepts
PVD satin gold or satin black.
formani.com Solutions have developed an antimicro-
bial coating to help reduce the spread of
germs. The coating is said to be more
effective than cleaning with disinfectants,
because it continuously works for the
lifetime of the handle’s finish to inhibit the
growth and reproduction of bacteria.
t-concepts.com
23
PRODUCTS Concrete & Masonry
Stacking Up
The latest innovations prove to be more than just
another brick in the wall.
BY SHEILA KIM
CIRCLE Project
In February, CIRCLE Project—a group comprising scholars from six
European institutions, including BUILDERS Ecole d’ingénieurs and the
University of Central Lancashire—presented findings from research that
explored the possibility of a seashell-based pavement as a greener alterna-
tive to permeable concrete. After running several pilot sites, the team
concluded that shellfish waste can successfully be substituted for typical
Tenley Brick embedded aggregates, thereby replacing nonrenewable components with
A long and lean brick veneer with subtle tonal transitions, recycled material. While it’s still too early to say where this new formulation
Cultured Stone’s Tenley is well suited for contemporary will go, the feedback has been positive: representatives from the seaside
spaces. The 2¼" wide x 10½" long x ¾" thick brick is town of Blackpool, England, have already expressed interest in implement-
available in four colorways: Loften (creamy white); Kullen ing this experimental concrete in the Hawes Side area.
(soft gray); Wildon (flint gray with brown undertones); project-circle.eu
and Nori (charcoal with hints of ash).
culturedstone.com
True Gray
Glen-Gery’s True Gray Series,
Utopian Series
part of the company’s Vogue
Belden Brick Company applies its
Commercial Collection, comes
color-blending capabilities to
in four tones with differing gray
coarse-grind extruded-clay pav-
hues, from an ivory-esque Cool
ers, resulting in one-of-a-kind,
Gray to a dark Modern Gray
eye-catching, tactile bricks.
(shown). Each extruded-face
Available in three formats (4" x
brick is 75∕8" long x 2¼" high x
2¼" x 8", 4" x 2¾" x 8", and 4"
35∕8" thick and offered in a
x 2¼" x 12"), the Utopian
smooth or coarse finish.
series is offered in three
glengery.com
color families ranging from
brick reds to gray tones.
beldenbrick.com
ALSB New Colors

Arriscraft has expanded its calcium-
silicate Architectural Linear Series Brick
(ALSB) with three new shades, among
them Forged Steel (shown). ALSB units
are 2¼" high x 3¾" deep, in random
lengths of up to 235∕8".
arriscraft.com
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ENTER
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COCKTAIL NAPKIN
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CARD!
SKETCH CONTEST 2023

If you are a licensed architect or related professional who practices in the United States, you can enter this remarkable contest.
All you need is a white cocktail napkin and pen to demonstrate that the art of the sketch is still alive. Two grand prize winners will be chosen
(1 licensed architect, 1 related professional). Grand prize winners will receive a $300 gift card and a set of cocktail napkins with their winning
sketch printed on it! The winning sketches will also be announced at and utilized on napkins at our Innovation Conference in October.
The sketches of the winners and runners-up will be published in the November 2023 issue of Architectural Record and shown online in the
ArchitecturalRecord.com Cocktail Napkin Sketch Gallery.
HOW TO ENTER:
• Sketches should be architecture-oriented and drawn specifically for this competition.
• Create a sketch on a 5-inch-by-5-inch white paper cocktail napkin. You may cut a larger napkin down to these dimensions.
• Use ink or ballpoint pen.
• Include the registration form below or from the website.
• You may submit up to 6 cocktail napkin sketches, but each one should be numbered on the back and include your name.
• All materials must be postmarked no later than September 11, 2023.
CALL FOR
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SUBMIT SKETCHES BY SEPTEMBER 11, 2023

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Record PRACTICE
Deborah Berke Partners Relaunches as TenBerke

In mid-April, New York–based Deborah Berke
Partners announced that it was becoming
TenBerke and rearticulating the practice’s ethics-
based vision. Alongside partners Maitland Jones
and Arthi Krishnamoorthy, Deborah Berke spoke
with record senior editor Leopoldo Villardi
about the change, what it means for the 60-per-
son firm, and her forthcoming book with Thomas
de Monchaux, Transform: Promising Places,
Second Chances, and the Architecture of
Transformational Change.
You’ve been practicing since 1982 and

formed Deborah Berke Partners with
Maitland Jones and Marc Leff in 2002. Just
a few years ago, eight more designers, in-
cluding Arthi, joined the partnership. Why
the name change and what does it mean for
your practice?
Arthi Krishnamoorthy: We’ve been
thinking about it for some time—and it’s nice
to finally say it aloud to an audience that isn’t
just us. In a way, we are catching up to who
we’ve been for a long time and finally using
our firm name to better reflect that. Deborah
doesn’t draw a napkin sketch and then walk The staff of TenBerke gather for a portrait in Madison Square Park (above). Deborah Berke and
away. Design has always been a conversation, Thomas de Monchaux’s forthcoming book, Transform (below), will be published in June by Monacelli.
amongst ourselves and with the creatives we
often work alongside. 2000s, we were taking on larger-scale work. of ourselves as instruments of change. So
Deborah Berke: The firm has morphed But since the very beginning, we’ve never had there is something a little scientific about it,
over many years. When I first got my license, the—I’ll call it “imperial” model. I am not an but also humanistic at the same time—10
I was practicing at my kitchen table. It was a empress. I am never the only one talking. fingers, 10 toes.
tiny, tiny office. Almost all our work was That’s just not how we work. Nor is it how we
either in Seaside, Florida, or low-budget present ourselves to the world or how we In recent years, principals have avoided
projects in New York City for artists. By the relate to our clients. using their own names, leading to some
Maitland Jones: We want to be clear about bizarre and forgettable firm names. Unlike
who we are and what is best for us as a group, Skidmore, Owings & Merrill’s shift toward
with an interest in inclusion, empowering SOM, or Polshek Partnership’s rebranding
young people, giving them a sense of their as Ennead, which removed its founder’s
future, and ensuring our longevity as a firm. name altogether, “Berke” is still very much
a part of the new identity.
There are more than 10 partners, so where DB: I’m not going anywhere. [Laughs.]
does the “Ten” come from? MJ: We’re moving toward a model of broad
AK: For us, Ten signified multiples and ownership, guided by narrow leadership.
multiplicity. There are also the powers of 10, Clients come to us because they are undertak-
which evoke the many scales where we work ing projects that solve problems at a mission
PHOTOGRAPHY: COURTESY TENBERKE
—zooming in on details but also zooming out scale. They are not undertaking trivial things.
and thinking about the broad responsibilities This is the case with our new project at
we have as architects. Details, in the end, Princeton (page 74). These are the kinds of
affect people. projects that are fun and exciting for us. We
MJ: It has very positive allusions to both want to invoke all of this in our identity.
1960s optimism and architectural pragma-
tism. Does it contain a little whimsy or opti- Many institutions have hired you for adap-
mism? Maybe. It’s not too self-important, but tive-reuse projects. Tell me a little bit about
it isn’t unserious either. Sometimes we think the thinking behind your forthcoming
27
Record PRACTICE
book, Transform, which documents these In 2017, TenBerke

interventions. Deborah, your essay in it, transformed the H. H.
“Against Preservation and for Regenerative Richardson–designed
Buffalo State Asylum
Reuse,” will raise eyebrows among some.
for the Insane into a
DB: That’s good. I have always been suspi- hotel and conference
cious of the “save it as though it were in am- center (Record,
ber” approach, because life isn’t like that. Our September 2017).
bodies age. Our experiences change. Cities
themselves are organic things that evolve over acknowledge one’s
time. Why would you freeze a building in time. Consider the
time? I can understand why someone would Richardson Olmsted
want to preserve a room where, say, George Campus in Buffalo.
Washington slept. But beyond that, what we By adapting it and
ought to speak to is that human experience clearly adding to it,
PHOTOGRAPHY: © CHRISTOPHER PAYNE/ESTO

changes, varies, and gets richer by the visibil- we leave no uncer-
ity of time—not of aging—but of time; of how tainty about what the
we change uses and do things differently. real deal is. If our
AK: In terms of climate change, we’re additions had been
almost at a point of no return, too, and there Richardsonian Romanesque, I think everyone design approach. Dyed-in-the-wool preserva-
is so much embodied energy in existing build- would’ve lost something. tionists need to be more open to discussions
ings. We risk losing our sense of optimism if DB: The space—and time—between old with architects about the key characteristics
we don’t do anything. There are many reasons and new is where we live our lives. We are not of a building that allow it to tell a story, and
to save what already exists. of the tear-it-down-and-start-with-a-blank- what the pieces are that otherwise can and
MJ: Not least of which is to live in and slate school, but “fakery” is antithetical to our need to change. n
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Shadows and highlights move across metal tiles

As the multi-faceted Precision Series metal tiles catch the sunlight,
the three colors used are transformed into many shades, adding richness
to the palette of grays – Musket Gray, Slate Gray and Granite. Stone White
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Guess the Architect Contest
ENTER NOW! A monthly contest from the editors of RecoRd asks you to guess
the architect for a work of historical importance.
THIS MUSEUM, BUILT ON AN ARTIFICIAL ISLAND IN THE BAY OF ONE OF THE

WEALTHIEST CITIES IN THE MIDDLE EAST, IS AMONG THE LAST PROJECTS
PHOTOGRAPHY: © STELLARD, WIKIMEDIA COMMONS (TOP); © LEONARDO FINOTTI (BOTTOM)
DESIGNED BY AN AMERICAN ARCHITECT OF WORLDWIDE RENOWN. IN THIS

PROJECT, THE ARCHITECT MADE USE OF COMPLEX GEOMETRIES TO CREATE A
STRIKING PLAY OF LIGHT AND SHADOW ABOVE THE WATER WHILE
REFERENCING HISTORIC ISLAMIC ARCHITECTURE.
The casa de vidro (“glass house”) was designed by Lina Bo Bardi for herself and her
husband, the writer and curator Pietro Maria Bardi. After moving from Italy to
Brazil, where the two both became naturalized citizens, Bo Bardi and her husband
acquired land in the São Paulo neighborhood of Morumbi, and Bo Bardi began work
on the house in 1949. Its structure was designed by the noted architect-engineer Pier
Luigi Nervi.
By entering, you have a chance to win a $500 Visa gift card. See the complete rules and
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31
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BOOKS
One House Per Day, by Andrew Bruno. ORO one post, composed of an axonometric, plan,
Editions, 392 pages, $40. and section of a single domestic design—be
fore closing with reflections by Clark Then
REVIEWED BY LEOPOLDO VILLARDI
haus and the author.
The collection of illustrations, supplement
“I HAD BEEN trying to get into the habit of ed by an index of succinct descriptions, reads
drawing daily on a number of occasions,” like a diary of Bruno’s daily musings. House no.
architect Andrew Bruno explains. “But I’m 150 was inspired by Reyner Banham’s 1965
not someone who has a lot of discipline. Post essay “A Home is not a House,” which the
ing on Instagram to a public audience was a author happened to be reading. About a
way to keep me accountable.” Bruno’s new month later, when Bruno first learned of Anni
book, One House Per Day, collects the first 365 Albers’s work with textiles, he set himself the
drawings from his selfinitiated social media task of scrawling a house that used fabric
experiment to design, sketch, and share a extensively (House no. 185). Reinventions of
single dwelling every day. Since his first post wellknown house types—the courtyard, the
in January 2020, Bruno’s account (@one_ saltbox, and the Aframe—pop up, and, as
house_per_day) has amassed a following of readers leaf through the pages, they might
over 47,000—and the drawings keep coming. even see entire genealogies begin to unfold.
Given the project’s original medium, the Some of the houses, like those of endlessly
book fittingly takes the shape of a 7½by7½ matrixed rooms, seem terrifying to inhabit.
inch square. Opening with a foreword by Others are quirky and imaginative. A few,
Keith Krumwiede and two thoughtful writ simply put, would not work well as abodes. Or screen wall
ten contributions by Malcolm Rio and the
duo Alessandro Orsini and Nick Roseboro,
One House Per Day then launches into a steady
would they? This unpretentious compendium
is a welcome reminder that novel ideas, and
the occasional solutions left in their wake,
BLOCKS made in USA
stream of drawings—each page represents start with the stroke of a pencil. n
no.244
IMAGES: COURTESY ORO EDITIONS
stack ‘em up!

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LANDSCAPE
A SUBAQUATIC BIKE GARAGE IN AMSTERDAM CREATES SPACE FOR LIFE TO FLOURISH ABOVE AND BELOW THE SURFACE. BY WILL JENNINGS
THOSE WHO ALIGHT from trains at

Amsterdam Central Station are flung into an
urban maelstrom. With 200,000 daily riders,
the station is a critical hub for trains, but also
for trams, ferries across the IJ River, and
bicycles, with a key east–west cycling path
running parallel to the vast building.
Bicycles, which account for over 60 percent
of all city-center trips and half of all daily
commutes into the city, are everywhere in
Amsterdam. They fill the streets, packed into
unsightly metal-framed multistory bike parks
and also locked to bridges, railings, and lamp-
posts as a form of urban decoration. In the
Netherlands, a country of 17 million people
and 23 million bicycles, these vehicles are a key
consideration in all urban-design projects, not
only in movement, but also in storage.
Amsterdam’s packed center has little space.
There is, however, plenty of water, with much
of the city built upon wooden piles. Central
Station is constructed this way, standing on
nearly 9,000 piles, but a new extension goes
one step further, building beneath the IJ as
well as on the river.
IJboulevard, by VenhoevenCSarchitecture
+urbanism, is a key component of a decade-
long Central Station strategy to improve
capacity and access. From the outside, it
might not seem like much to look at architec-
turally: a nearly 65,000-square-foot public
plaza to the north of the station that offers a
moment of calm, with views toward the
emerging towers on the facing bank of the IJ.
Under the surface, however, lies a far more
complex feat of engineering ingenuity.
Tucked below the new riverside terrace is a
state-of-the-art bicycle storage facility. Four
penetrations into the otherwise open paving
offer access: two central staircases and, at
each end, shallower stairs with ramps for
bicycles to be wheeled on. Inside, the neatly
detailed and generously open space is a long
corridor of continuous double-height bike
racks, its gentle curve reflecting the bend of
the river, adding to the drama of unexpected
scale.
Users enter the facility with a simple swipe
of a credit or city-transportation card—stor-
PHOTOGRAPHY: © OSSIP VAN DUIVENBODE
age is free for 24 hours, then roughly $1.50 a

day thereafter—and guide bikes to a spot.
Cameras and sensors monitor capacity, feed-
ing clear signage and ceiling lights to indicate
where users can find empty spaces. The
cameras also note bikes that have not been
moved after several weeks, alerting staff to
remove any that may have been abandoned.
Although a space with an immediate and A ramp leads down to the bike-storage area from the new riverside plaza at Amsterdam Central
understandable ease of use, IJboulevard bike Station (top). The underwater facility can accommodate 4,000 bicycles (above).
39
LANDSCAPE
The column-free design maximizes available

storage space (above); aerial view of Amster-
dam Central Station and IJboulevard (right);
the riverfront promenade (opposite).
garage is the result of an elaborate construction

process. The tunnel was formed from three
concrete tubes, built eight miles away in a
shipyard before being floated to the site on a
pontoon. With the ends of each tube closed off
by steel sheets, the three components were
sunk into the water before being maneuvered
into place, carefully avoiding existing perpen-
dicular Amsterdam Metro lines beneath. Then
they were joined together, the temporary steel
ends of each section cut through to create a
single hollow form with room for 4,000 bi-
cycles. VenhoevenCS partner Danny Esselman
calls it a “semi-floating situation”—the struc-
ture is supported on underwater columns, but
the columns require less engineering than if
above ground, due to the innate buoyancy.
A timber promenade at the water’s edge,
reached by steps down from the plaza, dis-
IMAGE: COURTESY VENHOEVENCS
guises a solid concrete slab that protects both

the bike park and train station in the event of
a ship’s veering off course. Underneath both
elements, and among the supporting piles, a
new aquatic habitat has been created. Formed
of wood, coconut mats, porous concrete, and
artificial fish nurseries known as bio-huts, the
project’s marine landscape was designed in MARINE ECOLOGY CROSS SECTION
collaboration with DS Landschapsarchitecten
to provide surfaces and shelter for aquatic
flora and fauna to flourish.
Esselmen explains that the northern edge
of Central Station had historically been its
“backside”—a forgotten space once rife with
crime and prostitution. VenhoevenCS now
proudly refers to the reimagined area as the
“city’s balcony.” In the process of creating
concealed parking for thousands of bikes, the
scheme also enables removal of unattractive
bike-storage units at the front of the station,
returning 18,000 square feet of outdoor space
for pedestrian use.
From its opening in late February,
IJboulevard looked as if it had always been a
part of the urban landscape surrounding Central
Station. Commuters immediately flooded in and
out with bikes, tourists flowed from the station
to the new riverfront boardwalk to admire city
views, and, hidden beneath the water, aquatic
life began to build a new home. n
Will Jennings is a London-based writer, artist,

educator, and curator.
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41
IN FOCUS
Hammer Time!
A transformation two decades in the making, Los Angeles’ Hammer Museum is ready for its close-up.
The museum-going experience at the Hammer is There are classical museum buildings, house because it was connected to a highrise, the
a truly singular one. Entering from multiple museums, museums in former industrial museum was technically a highrise as well.
locations, visitors, once inside, weave in and out spaces—but the Hammer is an unusual From a code standpoint, it made the museum
of the museum’s central courtyard as they make amalgam of spaces. What were the chal- project difficult for Barnes, and in some cases
their way through the galleries, some designed as lenges and opportunities of working within difficult for us.
such, others recently converted from office floors in this existing structure? His building was completed in 1990—right
the adjacent tower, another a former retail-bank Michael Maltzan: From the beginning, at the moment when the role of museums and
space on the ground floor. Originally opened in the mission was to create a place that had its culture was changing significantly, to become
1990 as the Armand Hammer Museum of Art own unique identity, its own energy. The much more accessible, much more engaging.
and Cultural Center, the building, designed by multiple entries, for instance, which could be The Hammer was one of the last of that old
Edward Larrabee Barnes, has been undergoing a seen as a challenge, were actually a huge ad idea of a museum.
series of interventions—outlined in the diagrams vantage. It says something about an institution I did get to meet Ed Barnes at the start of
on the following pages—by Michael Maltzan when you can come from almost any direction this project, and we went over the changes that
Architecture (MMA) beginning in 2000. In in the city and enter the museum—it’s so we were proposing. He was OK with them. I
March, the museum, which has free admission to different from, say, the Met in New York, thought that was an unbelievably remarkable
all and is part of the School of the Arts and where you are confronted by that huge set of thing, where architecture, in that case, was
Architecture at UCLA, celebrated the culmina- stairs, which tends to create a physical and bigger than the architect, in his mind.
tion of that transformation, whose final phase psychological impediment for many people. Ann Philbin: Barnes’s building did have a
included a redesigned Wilshire Boulevard en- Pragmatically, the fact that Barnes’s great asset. The courtyard is a hugely impor
trance, an outdoor sculpture terrace, and a spa- museum had its lobby in the base of the tant element of this structure. In fact, it’s the
cious new art-filled lobby. Michael Maltzan Occidental tower, which was Armand Ham first thing that attracted me to this place.
and Hammer director Ann Philbin talked with mer’s company, and was connected to it, When I walked into this building, it was a
record editor in chief Josephine Minutillo about created very difficult complexities. The build bleaklooking place, but I saw the giant court
their decades-long collaboration and the evolu- ing types are different, there were different yard and I realized that, in a city like this that
tion, during that time, not just of their building, floortoceiling heights, the parking garages has very few parks and gathering spaces, this
but the city of Los Angeles as well. were linked but in a circuitous way. And is an ideal structure. That’s why we started on
the theater first. This is a place not just for
exhibitions but for public programs and people
coming together. We have 300 events in that
theater every year—but it was literally a hole
in the ground at the opening, because they
wanted to finish the original museum so
Armand Hammer could see it before he died,
and the theater space never got fully built out.
The gathering part of this place is absolutely
one of the most important things about it.
MM: It was really about jumpstarting a
new form of civic and urban life in this city.
That’s what’s been extraordinary to see over
the years.
AP: But this is also a space for artists. I
wanted to make a place that artists wanted to
PHOTOGRAPHY: © IWAN BAAN
come to, a place with exhibitions that artists

wanted to see.
Currently in Los Angeles the Lucas Museum

and LACMA are under construction, among
others. Where does the Hammer fit in this
changing cultural landscape?
AP: We have become a leading institution that he had done, but the buildings were The Hammer Museum now has a stronger
in this city for contemporary art. There’s for people I really trusted and who were street presence, with a prominent new
entrance on Wilshire Boulevard (opposite).
enormous friendliness and collegiality among friends of mine. And they were champions of
Its courtyard remains a space for gathering
the museum directors, and we’re all excited Michael’s. When I met him, and he delivered (above).
about all the projects happening—and there a proposal, I just knew.
are a lot of them. All boats rise here.
Michael, how does it feel to be the architect
Ann, what made you take a chance on an of a project where many of the architectural
architect who at the time had only been in moves go unnoticed by most?
4
practice on his own for a few years? MM: I knew from the beginning that
AP: I had only seen residential projects much of what was going to happen architec-
2
1
5
3
2000 2006 2011

MMA DESIGNS MASTER PLAN 1 BILLY WILDER THEATER 4 COURTYARD SHELL
2 COURTYARD CAFÉ 2015
2011 5 JOHN V. TUNNEY BRIDGE
3 THE LAB
43
IN FOCUS
Chiharu Shiota’s site-specific installation

blankets the walls and ceilings of the redesigned
lobby with her signature red wool fibers (left).
Upper-level galleries (opposite) open onto ter-
races that overlook the courtyard (below, left).
turally, in order to choreograph movement

and program, was going to be more surgical,
more strategic, and I became completely
fascinated by that.
How has attendance grown as more aspects

of the project were realized?
AP: When I got here [in 1999], atten-
dance hovered around 35,000 a year, and it’s
since gotten to over a quarter of a million.
The museum was hidden in this office tower.
When people realize that it’s here and that
it’s free, we’re going to see an even bigger
increase.
Because the interventions have happened

gradually in an existing building, has that
taken away from the “big splash” so typical
of many museum openings?
MM: I think you often see that “big
splash” happening instantaneously, and then
it’s done—it’s a kind of anticlimactic mo-
ment. Here, what’s interesting is that the
understanding of the Hammer as an institu-
tion, the excitement about it, has also built up
over 20 years in the same way that the insti-
tution has continued to grow and evolve.
AP: We would have made a lot of mistakes
if we had followed our first master plan to the
letter. Because the process was incremental,
we had the opportunity to change and tweak
and alter things as we observed how visitors
behaved and how we used the space. I feel so
lucky now, but if someone had told me when
we started that it was going to take over 20
years I would have said “Forget it!”
7
11
6
10
6 12
8
9
2016 2018 2020

6 MAIN EAST AND WEST GALLERIES 8 BAY-NIMOY STUDIO 12 OFFICES
2018 9 CHARA SCHREYER GALLERY
7 ANNENBERG FAMILY TERRACE 2019
10 RESTAURANT
11 LINDBROOK ENTRANCE
Is there an example of something that hadn’t prioritized that, because at least they pleted” project to renovate that space?
changed from the master plan? existed, but in that minute, we decided, “Next AP: We don’t have the money to do that
AP: The renovation of the galleries was phase is now the galleries!” And we renovated right now, because we took that money to save
going to be much later in the process, but then the galleries and presented Al’s retrospective. our staff during Covid. But it will eventually
we wanted to take an exhibition of Al Rup be done. And we will make that space con
persberg’s work from the Walker Art Center. Well, now you have Rita McBride, who tinuous with the rest of the museum.
Word got back to me that he didn’t like the loves the “corporate ruin” of the old bank
galleries. And he was right, we had galleries at the Hammer for her current exhibition. So, when you say this is the culmination of 23
that were not very modern or attractive—they Would you consider leaving it like that, or years of collaboration, it’s really not true?
had molding and yellowed wood floors. We will there be another phase to this “com- AP: Not completely . . . n
17
21
16
15 20
14
13 19
18
2022 2023 2023

13 HAMMER STORE 18 CORNER ENTRY 20 NEW GALLERY
14 WORKS ON PAPER GALLERY 19 YOUNES & S. NAZARIAN LOBBY 21 SCULPTURE TERRACE
15 WORKS ON PAPER STUDY CENTER
16 BOARD ROOM
17 BACK OF HOUSE
45
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FIRST LOOK
Industrial Chic
Lina Ghotmeh designs an upscale manufacturing facility for Hermès, in Normandy.
BY ANDREW AYERS
THOUGH PERHAPS best known today for its ladies’ silk scarves,
French luxury brand Hermès started out as a saddlemaker and still
produces numerous leather goods, among them the famous Kelly purse,
launched in the 1930s and given its current name after Princess Grace
of Monaco was spotted hiding her pregnancy behind one in the late
1950s. With a 2022 turnover of $12 billion and net profits of $3.7
billion—a 38 percent increase over 2021—the non-public company,
owned and run by descendants of the founders, is in full expansion,
opening new sites of manufacture and scouring France for a labor force
skilled enough to work to its extremely exacting standards (there’s
currently a six-to-seven-year waiting list for a Kelly, which retails at
around $7,500). Hermès’s nine French production hubs are scattered
around the country. In Normandy, the firm operates facilities near
Louviers, 60 miles northwest of Paris. This January, Hermès’s Norman
production capacity was greatly increased by the opening of a brand-
49
FIRST LOOK
The new leather-goods workshop will employ

up to 260 craftspeople (above and opposite)
in a square building (left) that recalls the
shape of the company’s famous scarves,
divided into 10-meter-bay modules (below).
AXONOMETRIC
new leather-goods workshop, a 66,700-
square-foot building that, once running at
full steam, will employ 260 craftspeople.
Designed by Paris-based Lebanese architect
Lina Ghotmeh, who won the 2019 design
competition, it is intended as a paragon of
sustainable development.
“Hermès runs a policy of responsible,
structured growth,” says François-Pierre de
Feydeau, head of Hermès’s Norman hub.
“Among other commitments, the family has
decided that new facilities should only be
built on brownfield sites.” So it is that the
leather workshops find themselves in an area
of housing and light industry that developed
over the course of the 20th century to the
north of Louviers, with forested hills to the
west and rolling fields to the east. “There’s
beautiful nature nearby, but a lot of the indus-
trial buildings show little care in their de-
sign,” says Ghotmeh. “The challenge was to
create a place you don’t identify as industrial,
to go beyond the stigmas of what a place for
making can be—to render it timeless in a
certain way, and in resonance with the wider
natural landscape.”
Located at the northern end of its generous
rectangular site, which is bounded to the
south by the inevitable parking lot, the single-
story building is a giant square in plan, 90 by
90 meters (295-feet square). “As well as recall-
ing the shape of Hermès’s famous scarves, the
square plan is compact, which not only helps
lower energy consumption but reduces dis-
tances within the workshops,” says Ghotmeh.
“We have high output targets,” adds Feydeau,
“meaning each piece has to be made within a
certain amount of time. Workers’ movement
around the shop floor must therefore be
minimized.” All the workshops, with the
exception of the saddle-making studio, are
lined up along the northern facade (Kelly
purses are made there), where they receive
cool, even light, while batteries of north-
facing sawtooth roofs bring in yet more day-
light, their unglazed south-facing slopes
carrying solar panels that, along with geo-
thermal heating and cooling, are intended to
allow the building to produce more energy
than it consumes. Organized like a Roman
town with its decumanus maximus (main
east–west thoroughfare) and its forum—in
Hermès-speak, the “village square,” a central

unprogrammed space where staff can meet
informally—the complex was planned on
a 10-meter-wide bay module, the perfect
width, Ghotmeh explains, for an atelier with
two rows of tables. In keeping with Hermès’s
time-motion traditions, the ateliers are
51
FIRST LOOK
Brick arches are used throughout parts of the

exterior (left) and interior (bottom).
grouped into threes—a cutting shop, flanked

on either side by manufacturing studios.
In this part of Normandy, the traditional
construction material is brick, which Ghot
meh has used for the building’s external
envelope. “Not only is brick a local material,
it’s made by hand and is dimensioned for
manual use, so its presence in the architecture
reflects the trace of the hand in Hermès’s
craft manufacture,” she explains. Produced
with traditional methods at a brickyard some
40 miles away, the 500,000 bricks were “fired
for longer at a high temperature to achieve
deep red and violet hues.” Elongated brick
arches express the 10meterbay modules,
while the walls above them rise high enough
to hide all the HVAC machinery on the roof.
Beautifully laid in Flemish bond using mortar
colored with brick dust, the selfsupporting
envelope (reinforced here and there with
concrete to preserve the purity of the design)
encloses a timberframed building (a mix of
glulam and solid wood) whose interiors are
divided with timber partitions in a drive for
economy and embodiedcarbon reduction. It
is the first manufacturing facility to achieve
France’s E4C2 environmental rating, a certi
fication level that requires net zero energy and
entails adherence to carbon limits, including
those relating to construction materials. The
building uses bioclimatic principles—north
ern orientation, tree shading, natural ventila
tion, rainwater reuse—to help achieve its
targets.
Though Hermès has not divulged con
struction cost, this, Ghotmeh says, is a frugal
building that “tries to bring beauty to a con
text where nobody has bothered to care about
beauty.” What she is referring to here is the
southern, pedestrian entrance sequence—lat
eral facades are almost entirely blind, the
eastern one fronted with asphalt for truck
access—which is indeed beautifully handled.
After leaving the car park, staff pass through
an undulating naturalistic garden, landscaped
by Erik Dhont using the soil excavated for
construction, before arriving in a lovely series
of outdoor brickarched “rooms” (that could
be enclosed later if operations grow) leading
directly to the “village square,” from which

the complex is entered. The building’s exter
nal materiality is certainly very poetic, a
luxury touch that contributes both to
Hermès’s brand image and to raising this
industrial facility several cuts above the stan
dard tin shed. n
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BOKŠTO 6 I VILNIUS, LITHUANIA I STUDIO SEILERN ARCHITECTS, WITH ARCHINOVA
Reflecting History
In Lithuania’s capital, Studio Seilern transforms an 18th-century hospital into a lively mixed-use complex.
BY CHRIS FOGES
PHOTOGRAPHY BY ROLAND HALBE
“WORK ON historic buildings is much
more difficult than designing new ones,”
says Christina Seilern, founder of London-
based Studio Seilern Architects. “Every-
thing you do is scrutinized in minute de-
tail, and there’s always the fear of getting it
wrong.” As she recounts the 13-year project
to create 143,000 square feet of apartments,
offices, and leisure facilities from an 18th-
century hospital in Vilnius, the capital of
Lithuania, one can see what she means.
The architects’ bold approach to a sensitive
setting required confidence and strong
powers of persuasion, but the harmonious
accord between restored structures and
imaginative additions should put any
doubts to bed.
Located on Bokšto Street in the heart of
the Old Town, a UNESCO World Heritage
Site, the walled compound that Seilern first
encountered comprised three large buildings
in two U-shaped arrangements that define a
spacious courtyard, with a smaller L-shaped
structure on a lower terrace to the east. They
had once been beautiful, with baroque
architecture of the simplest, most austere
kind, but were in terrible shape. Clumsy
extensions were added in the 19th century,
and the 20th century saw the roofs replaced
with metal sheeting that eventually rusted,
and most original features ripped out.
The rotting complex had been entirely
abandoned some years before it was acquired
by Seilern’s client, who had moved from
Switzerland to Lithuania soon after it
gained independence from the Soviet Union
in 1991. “He’s been very successful in busi-
ness and wanted to give something back to
the city,” says Seilern. “It’s a commercial
development, but he saw it as a cultural
project too.”
The architects began with forensic inves-
tigation of the derelict buildings, which sit
over vaulted brick basements dating back to
the 15th century. The process of discovery
shaped ambitions for the project. Initial
plans for a hotel were deemed too destruc-
tive; they gave way to a mix of uses sug-
gested by the eccentric spaces.
The basement of the northern range
would accommodate a spa, with an adjoin-
ing swimming pool below the courtyard. An
elevator and stair tower serving both the spa
and offices above would be installed outside
POLISHED STEEL on a stair tower (top, right)

and the restaurant’s roof (bottom, right) identify
these elements as insertions in the complex’s
18th-century fabric (opposite).
57
3
3
A A
10
4
3
0 30 FT.
BASEMENT-FLOOR PLAN GROUND-FLOOR PLAN
10 M.
8 7 7
0 15 FT.
SECTION A - A
5 M.
13 1 PUBLIC COURTYARD 11 ALUMINUM LAMELLA
2 STAIR/ELEVATOR TOWER 12 STEEL BEAM

14 12
3 OFFICES 13 ALUMINUM FIN
4 RESTAURANT 14 CURTAIN WALL DETAIL
5 EVENT SPACE 15 PVC MEMBRANE
11 6 SPA ENTRANCE 16 PLYWOOD
7 RESIDENTIAL UNIT 17 INSULATION
8 POOL AND SPA 18 GUTTER

15
16 9 SPA LOUNGE
18 17
10 PARKING
ROOF-SECTION DETAIL
A FORMER CHAPEL is now an event space
(right). The restaurant (below, right) looks out
onto a terrace and the courtyard beyond.
the building, preserving the integrity of the

original structure. Between the wings of the
southern building, a new basement would be
dug to make a restaurant, with a roof rising
to about chest-height in the courtyard above
to let daylight in. Parking sits beneath the
lower terrace, filling a void left by extensive
archaeological investigations.
In parallel to this activity, the architects
conceived a rationale for the design work:
demolish where necessary to restore the
clarity of the original composition, reveal
the original fabric where possible, and give
a clearly contemporary character to all
additions. It’s an approach well founded in
theories of architectural conservation, but
one that conflicted with strict rules on
development in the Old Town that reflect
resentment at the neglect of Lithuanian
heritage during the Soviet occupation.
“They were very prescriptive, and encour-
aged historical pastiche,” says Seilern.
“Crucially, though, the city representatives
had strong academic backgrounds and
would listen to arguments. It was a real
battle, but we won more than we lost.”
Most controversial was Seilern’s proposal
for new roofs. Rules insisted on clay tiles,
but allowed skylights so that attic stories
could be used. The architects argued that
the essential character of the original build-
ings stemmed from the tension between the
pale stucco facades and large, plain roofs,
eventually winning an agreement for an
ingenious alternative: setting windows
behind close-spaced slats of bronze-anod-
ized aluminum. While glass can be dimly
discerned behind the dark metal veil, from
a distance the expansive surfaces appear
solid, and lend a sense of order and calm to
the whole ensemble.
An equally creative approach was taken to
the new structures in the courtyard, whose
location was carefully justified by archival
research showing where long-demolished
buildings had once stood. Dressed in polished
stainless steel, they are a mirror to their sur-
roundings. Pin-sharp images of the baroque
facades and dense planting in the courtyard
gardens are reflected in the cladding of the
elevator tower, so that the structure itself
seems almost to disappear. Images of roof-
tops, scudding clouds, and the swaying cano-
py of an ancient linden tree animate the roof
of the restaurant like the surface of a pond.
59
WITHIN the attic space, skylights sit behind
aluminum slats (above, left) and a meeting
room is enclosed in glass and steel (above).
“We wanted to avoid either mimicking the

existing architecture or the overt contrast
often seen in additions to historic environ-
ments,” says Seilern. “Reflection is a form of
homage to the buildings and captures the
landscape too, emphasizing the importance of
the courtyard in the original composition.”
An enjoyable play between the original
architecture and new insertions continues
throughout the interiors, but the distinction
always remains clear. For new windows
Seilern argued against the wood preferred by
preservation authorities. “With triple-glazing,
wood frames are too thick to be correct,” she
says. “It’s like Botox: you can always tell.”
Instead, a slender steel profile influenced by
baroque details was developed with Vilnius-
based Archinova, which acted as both heritage
consultant and executive architect.
Within the largest building, a former
chapel is now a voluminous space for events
and exhibitions. Any original decoration is
IN THE spa (opposite, bottom), a hallway
zigzags through 15th-century vaults (right).
long gone, but the vaulted form has been

rediscovered and the curves echoed in the
frameless glass balustrade of a reinstated
choir loft.
Where evocative traces of historic fabric do
survive—from gnarled beams to time-worn
frescoes—they have been revealed, and the
scarred surfaces contrasted with crisply de-
tailed linings of warm oak, gray terrazzo, and
monochrome steel. There’s a lovely moment
where the exposed brick vault of the chapel
pops up in a light-filled, double-height attic
story, capped by a minimalist meeting room
in glass and steel, and another in the spa
where oak wainscoting zigzags through a
succession of crazily distorted brick chambers.
Seilern was tempted to leave that brick-
work encrusted in ancient dirt—an idea
quickly vetoed by the client. That’s under-
standable, but a pity. The patina of age is one
thing the restored buildings lack. There were
other compromises too, including the recre-
ation of a long-lost clocktower and pediment-
ed gateway. But for Seilern, the lengthy,
complex project has come to a very happy
conclusion. “I’m proud of the clarity that has
been restored to the whole composition,” she
says, “and in a fresh and contemporary man-
ner. I still can’t believe we did it.” n
Credits
ARCHITECT: Studio Seilern Architects —
Christina Seilern, founder
HERITAGE AND EXECUTIVE ARCHITECT:
Archinova
INTERIOR DESIGNER: Boksto SPA, ArchDesign
GENERAL CONTRACTOR: PST
CONSULTANTS: Elvora LT (structural); NIT
Projektai (building services); Contestus (project
management); Studio IBU (lighting)
CLIENT: Oliver Ortiz, Ogvy
SIZE: 143,000 square feet
COST: withheld
COMPLETION DATE: September 2022
Sources
POLISHED-STEEL CLADDING: KIKUKAWA
CURTAIN WALL: KGC Constructions
WINDOWS: GAMALANGAI, Jansen, SKYFRAME,
Glass Engineering
SKYLIGHTS: Aliuminio Konstrukcijos
HARDWARE: Dremler, Siedle
CUSTOM WOODWORK: Joras
FLOOR AND WALL TILE: Vileka, Ogrinda
LIGHTING: Sviesos Technologijos, ProLED,
Topmet, Deltalight, Viabizzuno, Ares
61
SANDI SIMON CENTER FOR DANCE I ORANGE, CALIFORNIA I LORCAN O’HERLIHY ARCHITECTS
Packed House
A historic citrus-processing facility is converted into a light-filled dance
rehearsal and performance space at Chapman University.
BY SARAH AMELAR
PHOTOGRAPHY BY ERIC STAUDENMAIER
IN APTLY named Orange County, California, Orange County, where housing tracts gradually
the citrus industry boomed between the 1880s supplanted groves, prompting some growers and
and late 1940s. Groves of Valencia oranges, the packers to relocate to other counties. By 2004,
predominant variety, eventually covered more when Chapman University purchased the former
than 67,000 acres, and, at the peak of this “gold Santiago plant from its second owner, it was
rush,” at least 60 major packing houses crated Orange County’s sole surviving citrus-packing
and shipped produce for local growers. Among plant. The historic warehouse did, however, gain
them, the Santiago Orange Growers Association state and national landmark designations, and
in the town of Orange—a 1918 facility, strategi- Chapman University—renamed in 1934 for its
cally sited by citrus magnate C.C. Chapman lead benefactor, C.C. Chapman, the “California
along the railroad tracks—became one of the Orange King”—was committed to celebrating
highest-volume fruit packers in the nation, that legacy. But several years would pass before
handling as much as 60 million pounds of or- the university, focused on other expansion
anges in a single year. But the industry shifted projects, would implement an adaptive-reuse
after World War II, as migration to Southern plan. Finally, in early 2021, Los Angeles–based
California spurred rising real-estate values in Lorcan O’Herlihy Architects (LOHA) won the
A DYNAMIC sense of motion permeates the
entire structure (opposite). The sawtooth-
profile shell of the performance-and-rehearsal
space soars 16 feet (this image).
63
commission to transform major sections of the
interior (along with seismic, acoustic, and
foundation upgrades, plus light exterior resto-
ration). In January, the old packing house was
reborn as the Sandi Simon Center for Dance,
a three-level, 33,400-square-foot study-and-
performance venue.
Above a heavy timber post-and-beam
structure, the former warehouse rises to its
original sawtooth roof with operable north-
facing clerestory windows. Outside, the in-
dustrial canopy that once shaded active
loading docks runs the length of the south
elevation—and the newly repainted word
“Sunkist,” in the brand’s jaunty shadow font,
adorns the pale stucco exterior. (At some
6
5
7 7
2 8 8
7 7
3
5
4
8
9
1
3
8
0 30 FT.
BASEMENT PLAN GROUND-FLOOR PLAN
10 M.
PHOTOGRAPHY: COURTESY ORANGE PUBLIC LIBRARY AND HISTORY CENTER (BOTTOM)

1 PERFORMANCE STUDIO 4 FACULTY LOUNGE 7 RESTROOMS
2 TAP STUDIO 5 MECHANICAL 8 STUDIO
3 OFFICES 6 TRAINING ROOM 9 CONTROL ROOM
THE 1918 facility was

strategically sited
along railroad tracks
(top) and became
one of the highest-
volume fruit packers
in the nation in its
heyday (left).
DANCE SPACES have sprung floors with vinyl surfacing (above).
Maple floorboards from the original factory floor were repurposed
on the interior as vertical cladding (right).
point, possibly by 1945, this packing house joined the Sunkist

cooperative—and the city later stipulated that the word re-
main.) The high-ceilinged 57,650-square-foot plant, which
included some additions to the 1918 version, rose one story
above a dark, dank basement, formerly nicknamed “the dun-
geon”—untapped potential that became central to LOHA’s
strategy.
Bringing daylight and a dynamic sense of motion through
the entire structure, the architects carved out the center of the
original workspace floor, opening up a large light well and
dropping the entry level one story to the former basement.
There, LOHA inserted an object-like 2,900-square-foot
performance-and-rehearsal space that soars 16 feet. Nearby,
another volume—also curvy and freestanding—houses faculty
offices and a small box office. Alongside it, a broad stairway
ascends to catwalk-like circulation, obliquely stitching together
the open edges of the upper floor and a new mezzanine, or
loft, atop the double-height performance space. A third free-
form pod on the new entry level encloses a lounge/meeting
room. Together, the three curvilinear volumes play against one
another like dancers shaping the space between them, some of
it tall and narrow. Five airy (and orthogonal) dance studios,
along the periphery, form a contrasting backdrop to this archi-
65
VIEWS INTO the studios invite students to learn,
even casually, from watching others in class (left
and bottom). Inside the performance/rehearsal
space, mirrors slide aside, permitting retractable
bleacher seating to descend (opposite).
tectural tango. The program also includes

two classrooms, a training room, plus casual
breakout areas. Whereas the dance center fills
the building’s western two-thirds at the for-
mer packing level, it occupies only the middle
bays of the existing basement.
The conversion of a subterranean realm
into a welcoming entry floor benefited from
an existing plaza beside it, sunken a full story
below street level and connected to it via stairs
and ramps. (The university built it in 2019 to
allow plaza-side dorms to rise an extra story
without exceeding the above-grade height
cap.) There, on the building’s south face,
LOHA ushered in daylight through multiple
glass entrance doors—though the most even
illumination comes through the sawtooth
roof. Letting rays and sight lines penetrate the
entire place, the architects used translucent,
channeled polycarbonate sheeting for many
partition walls and cut interior storefront
windows, or viewing apertures, into the
studios.
The design also lets users experience the vintage warehouse in newly here,” says Colette Creppell, vice president of campus planning and
revealing ways, bringing everyone dramatically closer to the sawtooth. design. “Nearby, Chapman already has its Dodge College of Film &
“We simply painted it white,” says LOHA founding principal Lorcan Media Arts and the soon-to-be-expanded Hilbert Museum of Califor-
O’Herlihy, “allowing the rawness of the original details to read nia Art. It’s all still evolving.”
through.” Underfoot, most circulation areas have existing concrete Meanwhile, on the dance center’s opening day, Creppell recalls,
floors, now micro-topped, whereas dance spaces have sprung floors “Swarms of students came flying and dancing in—it was a moment of
with Marley-type vinyl surfacing (except for the tap-dancing studio, sheer joy!” Ever since, they’ve been pirouetting and leaping through the
which has the classic wood). LOHA salvaged the original maple planks great spaces where oranges once rolled. n
from the cut-out packing-room floor, repurposing them as historically
evocative vertical cladding around the office volume and main stairway. Credits CLIENT: Chapman University
But all the new millwork—for sculptural hang-out areas, as well as the ARCHITECT: Lorcan O’Herlihy SIZE: 33,400 square feet
performance space’s shell—is pale virgin maple, finished with sleekness Architects — Lorcan O’Herlihy, COST: withheld
and precision, simultaneously resonating and contrasting with the principal in charge; Ghazal Khezri,
COMPLETION DATE: January 2023
project director; Ian Dickenson,
reclaimed work-worn hardwood. And playfully echoing the jagged roof, principal; Joe Tarr, Abel Garcia,
the performance volume’s cladding has a vertical sawtooth profile that project leads Sources
follows its curving form like the teeth of a circular saw blade. ENGINEERS: Structural Focus WINDOWS: Arcadia
In the spirit of citrus packing (and dance studies), these hardwork- (structural); Buro Happold (m/e/p);
THEATRICAL DRAPERY:
ing interiors have retained some of their industrial character, although KPFF (civil)
Rosebrand
the original shell and roof, now reinforced with steel rods and struts, GENERAL CONTRACTOR:
PAINTS AND STAINS:
R.D. Olson
are primarily what remain. With LOHA’s recent work occupying only Dunn Edwards
INTERIOR DESIGNER: Dotrio
about 57 percent of the building, more change is coming: arts spaces of INTERIOR FINISHES: Arktura
yet undetermined program and design will eventually flank the dance CONSULTANTS: Veneklasen (acoustic wall tile); Capri (rubber-
Associates (acoustics); IN-FO.CO cork floor tiles); Tarkett (carpet);
hub, all under the same roof. (signage); Historic Resources Group Westcoat (concrete microtopping);
“This project is an essential anchor for the arts corridor we envision (historic) Extech (polycarbonate panels)
67
CÂMARA MUNICIPAL DA TROFA I TROFA, PORTUGAL I NOARQ
For the People

A striking town hall features a somber exterior with luminous public spaces inside.
BY PANSY SCHULMAN
PHOTOGRAPHY BY ATTILIO FIUMARELLA
UNTIL November of last year, Trofa was
the only municipality in Portugal without a
town hall. Though it lies on an ancient route
that dates back to the Roman Empire, the
small industrial center only gained adminis-
trative autonomy in 1998. Since then, some
civic functions were carried out in a reno-
vated residential building and most others
scattered to sites throughout the city. “It was
a joke,” says architect José Carlos Nunes de
Oliveira, whose firm, NOARQ , was award-
ed the design of the Câmara Municipal da
Trofa in a 2016 competition.
The new building, financed in part with
funding from the European Union, concen-
trates for the first time the city’s public offices
and administrative spaces in a central location,
off a major avenue and steps from a historic
chapel and park. Presented with a rectangular
site that contained the abandoned buildings of
a former grain-processing facility, NOARQ
chose to preserve a warehouse at the center of
the plot, extending its roof toward the south-
ern end of the site, and nestling it within five
new volumes clad by slender black brick.
The firm’s striking choice of exterior is a
nod to the historical lineage of Trofa, whose
buildings were once blackened by coal smoke
from the busy rail lines to which it owes its
development. Trofa is relatively young by
European standards—its railway station was
inaugurated in 1875 and, soon after, food pro-
cessing, milling, metalworking, and textile
industries settled there to take advantage of
easy distribution to the larger cities of Porto
and Braga to the south and north, and even-
tually to Guimarães to the east. Today, about
40,000 people live and work in the city, which
has maintained its industrial and manufactur-
ing heritage. A bevy of Trofense factories
produce goods such as tires and automotive
parts, hydraulic equipment and tools,
Styrofoam, and plastic bags.
NOARQ’s building is somewhat of a behe-
moth, belying its provincial context; at 67,000
square feet, the design tripled the area of the
original brief, which, de Oliveira said, lacked
appropriate space for the public. Evocative of a
train-car itself, the long and narrow structure’s
somber facade and limited exterior glazing
seemingly puts it at odds with many other
civic architectural models of our era, which
emphasize openness and transparency. But
this is not a contradiction in terms: NOARQ’s
concept evokes the mundane nobility of civic
A RESTORED industrial building (top) is at the

core of the new town hall (opposite) and
backdrops a terrace on the second level (left).
69
4
1 CIRCULATION
2 WORKSPACES
2
3 3 PUBLIC SPACES
4 TRAINING SPACES
5 PARKING
5
A TRIPLE-HEIGHT ceiling in the building’s public
halls (right) allows visitors to look up into the
offices of city workers above (bottom, right), its
light scoop expressed on the exterior (opposite).
service, recalling “a worker in a black suit”

rather than idealized and lofty aspirations of
governance. “Brick is not just a covering—it is
integral and ancestral,” says de Oliveira. “We
chose this magnificent handmade black solid
brick, which corresponded to the solidity of
the image that a political building should
emanate.”
Though at first glance the building is
somewhat forebidding, a closer look uncovers
details that pleasantly complicate its formal
expression. Subtle curves are tucked in among
the blocky masses, and the almost seamless
exterior brick gives way in the middle of the
building’s length to reveal the light gray
facade of the renovated factory building,
which houses the public entrance.
“Architecture is about a composition be
tween the dark and the light,” says de Oli
veira, who relocated NOARQ to Trofa from
Porto almost 10 years ago. He founded his
firm in 1998 and has been a longtime collabo
rator of Álvaro Siza; working on the design
team for several of the Portuguese Pritzker
laureate’s projects since 2000, including a club
house in Vidago, Portugal (2010) and the
Abade Pedrosa Municipal Museum in Santo
Tirso, Portugal (2016). The influence of
Siza’s socalled “poetic modernism” is appar
ent in NOARQ’s largely residential portfolio
and on the Trofa project in particular, in
which de Oliveira also references Alvar
Aalto’s 1949 Säynätsalo Town Hall, similarly
brickclad, as a defining precedent.
The lesson in contrast continues inside,
which is outfitted in warm light wood and
bare concrete, at moments as striking in its
brightness as the exterior is in its darkness.
According to de Oliveira, the firm works in
“the Vitruvian tradition,” selecting the el
emental materials of brick, wood, and stone
for their “honesty” as well as their durability
and low maintenance needs. Because it is a
civic project, function and longevity were of
foremost concern in the design: “We wanted
an austere and serene building that would
resist time,” says de Oliveira. “Budget was
limited, and we knew that public buildings
are not properly cared for—maintenance does
not get votes or political victories.”
Nonetheless, de Oliveira was entranced by
the romantic ruins of the former factory build
ing, which, he says, were evocative of a cathe
dral. “We looked for a landscape within the
building and were amazed by the light and the
71
WARM TIMBER accents complement
expanses of concrete throughout: on
the central staircase (below, left), in an
employee-training room overlooking the
south wing (below, right), and in waiting
areas (this image).
THE PRESIDENTIAL
conference room (this
image) is on the top level of
the renovated factory
building.
high ceilings, and we thought to maintain that concept in the receiving council members and the mayor) and their support staff. The mayor’s
spaces.” The renovated factory building makes up the core of the new office has its own terrace, tucked between two suspended volumes on
complex, hosting the general assembly hall on the ground floor, offices the northern facade, which faces the city center and park.
on the second, and a roomy, light-filled conference room on the third. Through a delicate balancing of contrasts, the Câmara Municipal da
The public spaces are concentrated along the west elevation on the Trofa manages to both convey a quiet power and carry out its purpose,
ground level. Here, civic aspirations are more apparent in the triple- resulting in a civic building that pays equal respect to those who work
height ceiling that allows one to look upward and into the offices of the there, the public they serve, and its setting. Now NOARQ is turning its
city workers above, which are enclosed by glass, so that, de Oliveira attention to the construction of a bridge linking the cities of Porto and
says, “the objective of fulfilling the transparency of political power Gaia, a commission won in a 2021 competition against larger firms that
becomes a reality.” Sofas and chairs in the northern wing are provided included Zaha Hadid Architects and Herzog & de Meuron. n
for visitors waiting to be ushered into the various offices, while the
largely unfurnished southern wing can host events and other gather- Credits Sources
ings. Two employee entrances are on each end of the eastern side of the ARCHITECT: NOARQ — José Carlos MASONRY: Vale da Gândara
Nunes de Oliveira, design lead; (facade brick); Cortartec/Ancon
building, granting access to a hallway that spans its length.
André de Oliveira and Gaia Ferraris, (anchors)
The spatial logic of the building, which houses about 200 civic project managers
workers, dictates that departments that require the most direct contact GLASS: Vitrochaves, Saint-Gobain
GENERAL CONTRACTOR:
with citizens—taxation, building, press and communications, waste Telhabel Construções HARDWARE: Assa Abloy
management, and the postal service—are on the ground floor. Located CLIENT: Câmara Municipal da Trofa CUSTOM WOODWORK:
on the second level are offices, meeting rooms, and lounge areas for SIZE: 67,000 square feet J&J Teixiera
city planning, strategy and financial management, the legal depart- COST: $10.8 million (total); $9.2 WALLCOVERINGS: Forbo
ment, and human resources, with employee access to a west-facing million (construction) PHOTOVOLTAIC SYSTEM:
terrace. The top floor is designated for elected officials (including city COMPLETION DATE: November 2022 Pritermica, Astronergy
73
VARIED brick patterns create shadow
and texture, while ground-level glazing adds
transparency (this image and opposite).
YEH COLLEGE AND NEW COLLEGE WEST I PRINCETON, NEW JERSEY I TENBERKE
Campus Living
Two purpose-built residential colleges rethink the student experience at Princeton University.
BY LEOPOLDO VILLARDI
IF THE HUM of heavy machinery, orange construction fencing, and increasing prominence at the heart of a reoriented campus center.
countless detours aren’t obvious enough, a building boom is under way Social life at Princeton has long been dominated by upperclassmen
at Princeton. “In fact, it’s the largest expansion of the campus in our (and, at times, exclusionary) “eating clubs”—off-campus dining halls
history,” says university architect Ron McCoy. “We are adding over that are not affiliated with the university. Attempts to reshape the
3 million square feet of new facilities.” An art museum designed by student experience, often foiled by proponents of the club system, put
Adjaye Associates is rising in the middle of campus. To the east, Princeton behind peer institutions in establishing an on-campus, resi-
Ennead Architects is stewarding a new facility for the School of dence-based support system. Harvard, for example, created its “house”
Engineering and Applied Science that will stretch a quarter-mile long. system in 1928. Yale followed two years later with its “college” system,
Princeton is building farther south, too—across Carnegie Lake, where where students, under the leadership of a faculty member, live, dine,
the 85-acre Meadows Neighborhood will soon come to life. It’s all a and learn together in a cohort of a few hundred until graduation. It
part of Princeton’s 2026 Campus Framework Plan, which outlines a wasn’t until 1982 that Princeton successfully implemented its own
vision to expand the undergraduate student body. system, and, as a result, many of the colleges today are cobbled together
But where will these future scholars live? More important, how will with disparate buildings rather than housed in singular, purpose-built
architecture shape their experience on campus? Last fall, New York– facilities. That changed in 2007, when Princeton opened its first
based TenBerke, formerly Deborah Berke Partners (page 27), completed ground-up residential college—named Whitman—designed by Por-
Princeton’s two newest residential colleges, on the site of the Class of phyrios Associates, which drew inspiration from the campus’s Col-
1895 Field—giving the university’s mission a worthy architectural ex- legiate Gothic architectural traditions. Yeh and West followed, but
pression. Totaling 485,000 square feet and each housing 510 students, with a decidedly different look.
Yeh College and New College West are the first projects to be completed Graduated slate roofs, crenellated parapets, and pointed archways are
under the framework plan and rank as the firm’s most ambitious endeav- nowhere to be found—the new colleges are “designed in a resolutely
or to date. And, with Princeton’s southward advance, they will take on contemporary idiom.” As TenBerke partner and Princeton alumnus
PHOTOGRAPHY: © CHRISTOPHER PAYNE/ESTO (OPPOSITE); CHRIS COOPER
75
1
2 4
3
5
5
8 6 6
8
A A
7 2
0 20 FT.
TYPICAL RESIDENTIAL FLOOR PLAN
8 6 M.
8
9
9 1 CERAMICS STUDIO 7 SUNKEN COURTYARD
2 COMMON ROOM 8 SEMINAR ROOM
3 SIGNATURE SPACE 9 STUDENT RESIDENCES
4 REHEARSAL ROOM 10 HEAD OF COLLEGE RESIDENCE

9
5 STAFF OFFICES 11 DINING HALL
9
10
10 6 STUDENT LOUNGE 12 DINING TERRACE
0 100 FT.
LEVEL-ONE PLAN
30 M.
12 11 7 11 12
0 30 FT.
SECTION A - A
10 M.
Maitland Jones explains, “If a college is to
confer its own identity, then our mission was to
make something that looked a little different
but was still consistent with the rest of campus.”
As with the Collegiate Gothic buildings
that came to define Princeton’s early 20th-
century campus, Yeh and West maintain
an engaging sense of tectonic idiosyncrasy.
“This project is the culmination of years of
thinking about how to reinterpret historic
campus architecture for the contemporary
moment,” adds TenBerke partner Arthi
Krishnamoorthy.
Rather than courses of warm Wissahickon
schist and Indiana limestone used elsewhere
on campus, the colleges’ facades are rendered
in calcium silicate brick of a similar color.
Soldier-course lintels and inset spandrels on
Yeh, and graphite-colored metal frames and
shading devices on West resemble pared-down
versions of the articulated window surrounds
of the Collegiate Gothic. In some places,
curved corners collapse into single sharp
points, like the bases of rounded oriels. Swaths
of shallow reveal courses, hand-set with
16-inch-long bricks, create depth, while even
deeper creases do the work of stringcourses,
keeping the buildings from appearing too
monolithic. The architects hope this mosaic of
textures, lines, and shadows allow students to
readily identify their rooms from outside and
feel a sense of kinship with their home.
Although the two colleges share an archi-
tectural lexicon, certain distinctions give each
an added sense of identity. Yeh is lower-slung,
with courtyards that open to either side and
zigzagging planar shifts. West is taller, with
“treehouses” clad in metal panels, courtyards
PHOTOGRAPHY: © CHRISTOPHER PAYNE/ESTO (OPPOSITE AND TOP); CHRIS COOPER (BOTTOM)
that look out to the surrounding woodlands,

and gentle kinks in its plan.
Maintaining a connection to the school’s
pastoral landscape was especially important.
(After all, the Latin campus, meaning “field,”
was first used at Princeton to describe the
grounds of a university.) Near the traditional
town-and-gown boundary of Nassau Street,
compositions of discrete L-shaped and U-
shaped buildings snake through the landscape
in tandem to define a series of episodic, semi-
enclosed courtyards. Yeh and West achieve a
similar rhythm by taking the form of a series of
interconnected three-sided courtyards. Each
has a low-rise (and, in one section, subterra-
nean) north–south spine, off which four finger
buildings, like rhizomes, sprout outward and
step upward. Openings cut through these, and,
on approach, additional passageways, land-
marks, or programmatic destinations come into THE COLLEGES are linked by a dining hall (above), daylit by a sunken, birch-planted courtyard (top).
view, like trail markers in a forest. College Walk provides pathways and planted lawns for walking and gathering (opposite).
77
YEH COLLEGE (above, left) and New College
West (above), have distinct identities. Inside,
spaces range from large, open common rooms
(opposite) to intimate nooks (left).
In contrast to Princeton’s existing residen-

tial colleges, extensive glazing at the ground
level piques curiosity. The colleges’ common
rooms—places where students gather to
study, meet as groups, or sit for a coffee—are
on full display to passersby, as are seminar
rooms, staff offices, a ceramics studio in
West, and the Rehearsal Room, a perfor-
mance space in Yeh that can open in two
directions (out toward the rest of campus, or
in toward one of the courtyards). Introverts
uninterested in this architectural exhibition-
ism can find solace and solitude in any num-
ber of quiet study spaces on the colleges’
upper floors.
Between Yeh and West is College Walk, a
landscaped network of paths that, with the help
of landscape architecture firm James Corner
Field Operations, mitigates a 20-foot grade
change and provides universal access across the
PHOTOGRAPHY: © CHRISTOPHER PAYNE/ESTO (OPPOSITE, TOP 2); CHRIS COOPER (OPPOSITE, BOTTOM AND THIS PAGE)
11-acre site. As with each college’s architectural expression, landscape Connected to a boiler system, the colleges will soon be integrated with a
strategy diverges too: West mirrors the natural ecology of the adjacent system of geo-exchange wells (786 are finished; 720 more are under way).
woods, while Yeh, perhaps in a nod to Princeton’s first consulting land- “What we’re trying to accomplish with architecture and all the pro-
scape architect, Beatrix Farrand, leans on specimen trees planted in gramming that supports it, is a way for students to discover new oppor-
rigidly gridded bosques. Beneath College Walk, a shared subterranean tunities and make choices that launch them on an extraordinary life,”
dining hall, daylit by a birch-planted sunken courtyard and by glazing to says Kane. “It’s about finding a smaller community at a university that
the east and west, provides a space for students of the two colleges to inter- might just be a little too large to know everybody.” With rooms buzzing
mingle. Hard-to-miss hot-pink “social sculptures” by R&R Studios dot as loudly as the construction elsewhere, students seem to be at home on
the landscape, and colored film applied to windows (a modern take on campus. n
panes of stained glass in other colleges) reveal quotations in the sunlight.
On a typical floor in one of the residential wings, students of different Credits CLIENT: Princeton University
class years are mixed and spread out into a range of room models, from SIZE: 485,000 square feet
ARCHITECT: TenBerke — Maitland
singles and doubles to suites. Small floor plates encourage social interac- Jones, partner in charge; Arthi COST: withheld
tion, and knuckles in the plan accommodate study spaces with movable Krishnamoorthy, project lead; COMPLETION DATE: Fall 2022
furniture. A new addition to the university, requested by students, is fully Aaron Plewke, project manager;
nongendered restrooms (which required a variance to state building code). Noah Biklen, design lead; Stephen
Brockman, interior-design lead; Sources
“One type includes a large room with sinks and mirrors that are shared by
Deborah Berke, collaborating partner MASONRY: Arriscraft Linear Series
members of the same hallway community, with fully enclosed individual
ENGINEERS: Langan (civil); Silman METAL PANELS: ATAS International
showers and toilets,” says Andrew Kane, Princeton’s associate vice presi-
(structural); ADS Engineers (m/e/p) WINDOWS:
dent for university services. “And then there are single-occupancy bath- OldCastle Building Envelope
GENERAL CONTRACTOR:
rooms, with all fixtures, for students who want a different level of privacy.” Hunter Roberts Construction Group CONCRETE: Tri-State Construction;
“The new colleges are a little denser, a little taller, a lot more accessible, High Concrete Group
CONSULTANTS: James Corner
and significantly more sustainable than Princeton’s six existing colleges,” Field Operations (landscape); One DOORS: NanaWall; SAFTIFirst
Jones of TenBerke adds. This project, pursuing LEED Gold status, will Lux Studio (lighting); Ricca Design ACOUSTICAL CEILINGS:
be used by the university to reach a goal of carbon neutrality by 2046. Studios (food service) Armstrong Tectum Ceiling
79
CODE I VIRGINIA I ESKEW DUMEZ RIPPLE, AND WOLF ACKERMAN
The Next Level

The Center of Developing Entrepreneurs steps onto Charlottesville’s historic mall with an eye on the future.
BY DEANE MADSEN
PHOTOGRAPHY BY ALAN KARCHMER
CHARLOTTESVILLE’S Center of
Developing Entrepreneurs (CODE) is a be
guiling chameleon, created to foster the
growth of new local businesses while also
engaging its community. Designed by the
local firm WOLF ACKERMAN and the
New Orleans–based EskewDumezRipple
(EDR), which has a second office in Wash
ington, D.C., the project was conceived by
CSH Development to encourage nearby
University of Virginia graduates to remain in
the city. The goal: to transform it into a busi
ness hub that could compete with the likes of
Silicon Valley and Austin, Texas. “The whole
idea of the building was, utilizing the concept
of a coworking space as an entry point for
young people,” says EDR principal José
Alvarez. This vision—to attract and nurture
talent within a building—he says, inspired a
form that steps from level to level to symbolize
how one can move up and “grow” a business.
Built on an incline, the structure changes
scale at every elevation: On Main Street, the
city’s historic pedestrian mall, it is a three
story building, in keeping with the small
shops lining this promenade. On Water
Street, at its southern edge, the building rises
nine stories from the ground to its apex. And,
from the top of Vinegar Hill, looking back
toward the mall, it takes on another perspec
tive with a fourstory band of brick rain
screen, with staggered windows above a
groundlevel plinth, which grows from single
to doubleheight as the building moves down
hill across an 18foot change in elevation. It
also masks the point where the building steps
up, adding another three levels clad in clay
colored metal above the fourstory brick band
on its Water Street frontage.
Topographically and sectionally complex,
the building is straightforward in plan: A
shaped, with its taller side parallel to the
street grid, its shorter side at a roughly 45de
gree angle to it, and a twostory bridge con
necting the two. (Work on the site also in
A HYBRID stair/ramp navigates the site’s slope
(opposite) and invites the public into a plaza
(this image) at the heart of the building
complex.
81
SECTION PERSPECTIVE
1 7 11
2 2
5
5
3
5 6
1
6 10 9
0 30 FT. 0 30 FT.
LEVEL-ONE PLAN LEVEL-TWO PLAN
10 M. 10 M.
1 ENTRANCE
2 PLAZA
3 FOUNTAIN
4 LOBBY AND COFFEE BAR
5 COWORKING SUITE
6 GRAND STAIR
7 RETAIL
8 FOOD STALLS
9 BREEZEWAY
10 AUDITORIUM
11 OFFICE SUITE
MALL DIAGRAM
THE CODE structure steps up to nine stories on its south side (below)
providing a series of landscaped terraces for occupants (right) at
successive levels.
cluded a three-story party wall building at the end of the mall above
the parking garage). The Center’s northeast corner faces the mall, with
its lowest volume at the bottom of a hill (into which it is partially
embedded) and seven levels of terraced green roofs stepping up behind
it. Varied facade treatments disguise the full scale of the remaining
structure. “Charlottesville is very cautious and approaches modernism
with one eye looking sideways,” says Fred Wolf, principal of WOLF
ACKERMAN. “When you’re trying to do something this large in the
context of two- and three-story buildings that define the mall, there
are many ways this could go wrong in terms of the scale differential.”
The project kept on track in part due to the client’s desire to give
back to the community. The idea grew into a public plaza, between the
building’s two wings, that flows from the pedestrian mall. This open
space navigates the 11-foot grade change between the streets with
hardscape, affectionately called the “stramp” for its integration of steps
and accessibility ramps into the sloped terrain, leveling midway at a
plateau populated with young trees, café seating, and benches. At the
top of this outdoor respite, a triangular water feature nestles into an
acute angle under the two-story bridge connecting the building’s north
and south wings, with the mirrored underside of the bridge bouncing
reflections throughout the plaza.
“Part of the success of the building and its urban gestures result
from the client making that important. Rather than maximizing the
development parcel, there was the foresight to understand that, in some
cases, less is more,” says Wolf ’s partner, Dave Ackerman. “Creating
these kinds of public and private spaces, transforming the center of the
mall, and giving it a sense of place wouldn’t have been possible if they
weren’t on board.”
83
THE FIRST two floors are occupied by shared
coworking spaces (above and left), amenities like the
outdoor fountain (opposite), and retail.
Health and well-being was another client driver

for the 215,000-square-foot project. Interiors with-
in the 50-foot-wide floor plates benefit from day-
light, as well as natural ventilation from operable
windows—which contribute to three and a half
times the code-required fresh-air exchange—and
attached green-roof terraces. These, among other
sustainability incentives (record, April 2022), led
to an eventual LEED Platinum certification.
Programmatically, the building welcomes visitors
into a public lobby with a coffee bar facing the mall.
This transitions into coworking spaces, in a variety
of configurations, deeper in the building and on its
second floor. Amenities there range from a kitchen
and conference room to showers, a podcast studio,
and single-occupant work booths. The upper levels
are all core-and-shell office spaces, ready for fit-out,
each with its own roof terrace; the third floor is
multi-tenant; the rest are intended for single compa-
nies. On the plaza’s east side, the project retains a
mall-facing historic facade, with new-build infill containing retail for Tomorrow Tomorrow), with its open-air events and Future Forward
spaces designed as short-term lease opportunities, for local vendors to Conference. The Center of Developing Entrepreneurs provides Char-
test ideas in and build customer bases before expanding elsewhere. lottesville’s already vibrant and walkable Main Street with a community
Multiple circulation routes facilitate chance encounters among anchor that pushes the city’s entrepreneurial spirit to new heights. n
members of the coworking spaces and office tenants, while the glazed
base of the building displays the buzz of activity within for passersby. Deane Madsen is a Washington, D.C.–based writer and photographer
Where Water Street descends from the top of the hill, the plinth’s specializing in architecture.
slope accommodates a 200-seat auditorium that can host events or
expand the coworking area, its flexibility part of a future-proofing Credits Thorton Tomasetti (energy
strategy. “The building is like a big mixing valve,” Wolf says, “provid- ARCHITECT: EskewDumezRipple
modeling); MSTB (commissioning)
ing an environment that allows for interaction and overlap—that sort — José Alvarez, Noah Marble, Steve GENERAL CONTRACTOR: Hourigan
of cross-pollination among people doing totally different things.” Dumez, Z Smith, Tyler Guidroz, Jill CLIENT: CSH Development
With the pandemic’s causing a shift in thinking around workplace Traylor, Max Katz, Shannon Griffin,
Tom Gibbons, Alex Swiggum,
best practices, the CODE strategy for a healthy and lively working Kelsey Wotila, project team; WOLF COST: $93 million
environment that will pull people in—and, it is hoped, retain them— ACKERMAN — Fred Wolf, Dave COMPLETION DATE: March 2022
seems to be paying off. The building is almost fully committed, if not Ackerman, Mark Merolla, Joey
yet occupied, despite its opening’s mid-pandemic timing. “This project Laughlin, project team
ENGINEERS: Fox & Associates Sources
proves the theory that a building with amenities makes it worth going
(structural); Timmons Group (civil); GLAZING: Guardian
back to work,” says EDR’s Alvarez. “It also creates community, so it’s
2RW (m/e/p) DOORS: CR Laurance; Kawneer
worth coming here to exchange ideas, versus staying at home or work-
CONSULTANTS: Gregg Bleam CEILINGS: Arktura; Hunter Douglas
ing from anywhere.” Landscape Architect (landscape);
Today, the plaza and building have become embedded as part of the DKT Lighting (lighting design); CARPET: Bentley
neighborhood, included as locations for the city’s Tom Tom Festival (short STRUCTR Advisors (sustainability); LIGHTING: MP Lighting; Lumenpulse
85
BANDS of black concrete,
faceted white concrete,
and concertinaed
aluminum comprise the
Kunstwerf’s facade (this
image and opposite).
KUNSTWERF | GRONINGEN, NETHERLANDS | STUDIO DONNA VAN MILLIGEN BIELKE AND ARD DE VRIES ARCHITECTEN
Curtain Call
Lessons from the past elegantly underpin an adroit and confident début by two emerging practitioners.
BY ANDREW AYERS
PHOTOGRAPHY BY IWAN BAAN
THOUGH FAR CLOSER to Germany than to the Netherlands’ “It would have been simpler and cheaper to build an efficient, com-
capital of Amsterdam, Groningen is a quintessentially Dutch town. pact box, which is what the competition brief encouraged,” says Donna
Composed of winding streets and canals lined with picturesque and van Milligen Bielke, winner of the 2017 design contest with her regu-
mostly low-rise brick buildings, the historic center is surrounded by a lar collaborator Ard de Vries. “But we didn’t feel a big box was right
ring of often insensitive late 20th- and 21st-century development that here, either for the town or the historic buildings. So we took a risk and
sometimes shocks in its brutal jump in scale and materiality. Commis- fragmented the program.” To tie their project into the existing fabric,
sioned by the municipality, the Kunstwerf (literally “art yard”), which the duo built two L-shaped structures: a smaller one, containing a
provides rehearsal and administrative spaces for four local performance double-height rehearsal hall, located at the northeastern edge of the
companies, is located at the junction of the old and the new Groningen, plot, between the housing and the power station; and, lined up along
on the site of a former gasworks. When submitting their schemes, the north- and southwestern boundaries, a far more substantial build-
competition entrants had to take into account the substantial land- ing, articulated as three distinct volumes, which contains the other five
marked remnants of this past, which include a row of workers’ houses, a practice rooms. Where the site’s edges are free of buildings, the archi-
large electric-power station (already home to a renowned dance com- tects added arcades and colonnades to close the perimeter visually.
pany, which is what prompted the creation of this performance cluster), “I’m fascinated by the frontier between architecture and urbanism,”
a villa, and a small entrance pavilion, all dressed up in an eclectic livery explains van Milligen Bielke. “Not just by making a building in the city,
of brown stock brick with stone and redbrick trim. but by continuing the city with a building. What can a project give the
87
community?” To Groningen, she and de Vries offered “the courtyard,
which brings the Kunstwerf ’s users and the population together. We
made it as big as possible so that it becomes a public place of convivial-
ity.” Paved in brick, which ensures a certain continuity with the historic
fabric, the enclosed yet porous space enjoys multiple accesses, including
two tunnel entrances through the larger block, as well as planting by
Piet Oudolf, which in summer will grow into low outdoor “rooms.”
After addressing the urban parameters, the architects considered
how they might construct their scheme. “We were up against two big
constraints,” says de Vries. “First, because of gas extraction in the
region, Groningen is prone to earthquakes. Second, the rehearsal
spaces needed to be acoustically insulated both from each other and the
neighbors.” After studying all the options, the only viable solution was
a steel frame—bendy enough to withstand seismic shaking—clad with
thick concrete (prefabricated off-site) for acoustical performance.
“Almost all the concrete pieces are different,” continues de Vries, “and
the way everything connects had to be carefully handled because of
sound transmission.”
7 2
5
1
A 4
6
2 3 1 2
2 2
A 4
1
B
0 30 FT.
GROUND-FLOOR PLAN SECOND-FLOOR PLAN
10 M.
2
4
2
2
2
3
0 15 FT.
SECTION A - A
5 M.
2
1 ENTRY 5 OFFICE
2 THEATER 6 TECHNICAL/EQUIPMENT ROOM

2
3 LOUNGE 7 DRESSING ROOM 1
4 WORKSHOP 8 STORAGE 6
0 15 FT.
SECTION B - B
5 M.
ARCADES, courtyards, portals, and vignettes of historic buildings (this
page) extend the urbanism of the surrounding context (opposite).
Next came the question of how the Kunstwerf should present itself to
the outside world. “These big rehearsal halls are an essentially closed
function, but, in such a delicately detailed historic context, we didn’t
want our buildings to look big and blank,” recalls van Milligen Bielke.
“We work with a lot of references,” adds de Vries, “and often talk by
sharing images” (an Instagram-age method the duo compares to hip-
hop sampling). In solving the Groningen conundrum, two sources
proved particularly important: Sebastiano Serlio’s 1545 stage set for a
89
SOME THEATER SPACES open up to the city (left and above), while
others are more enclosed (top).
tragic scene, whose multiple entry points and arcades informed the competition). “People have tried to label us as part of a new genera-
urban planning, and Hans Poelzig’s now-demolished 1919 Großes tion—the ‘weaving’ generation, they call it—reacting to SuperDutch,”
Schauspielhaus in Berlin, whose blind facades, animated by colossal she says. Deceptively simple, the Kunstwerf is indeed beautifully
fluting, informed the Kunstwef ’s exterior. In Groningen, banded black- woven into the historic web, as came evocatively alive on visiting.
and-white elevations—on the ground floor, black concrete, polished on Stored in front of a ground-floor arcade, a trash can and brush brought
its outer surfaces and sand-blasted under the arcades; for the next tier, to mind Pieter de Hooch’s 1658 canvas The Courtyard of a House in
white concrete in vertical black-edged faceted strips that cast shadows Delft, where a bucket and broom dominate the foreground of a typi-
when the sun shines; and, up top, concertinaed white-aluminum clad- cally Dutch scene. Transposed in spirit, without the slightest resort to
ding, separated into thinner bands by more black edging—are intended pastiche, the lessons of the past elegantly underpin this adroit and
as foils to the warm brick. The elevation rhythm quickens as it rises, confident début. n
and in certain weather conditions will, the architects hope, merge with
the sky as the lacquered metal reflects the light.
Unlike the highly controlled exterior, which the pair developed
using multiple models and mockups, the interior was left to users to fit Credits SIZE: 28,000 square feet
ARCHITECT: Ard de Vries COST: $5,987,000
out, since the $5.6 million construction budget was too low to cover
Architecten; Studio Donna van COMPLETION DATE: September
interior design. “In the beginning, it was a bit of a shock,” laughs van Milligen Bielke; Julia Gersten 2022
Milligen Bielke. “I mean, purple floors and walls next to an orange ENGINEERS: ABT Wassenaar
bathroom . . . But it’s fantastic that the users were able to make them- (structural); Deerns (m/e/p) Sources
selves at home.” Generously dimensioned, with concrete ceilings, steel GENERAL CONTRACTOR: METAL PANELS: TSV
framing, and HVAC often exposed, the Kunstwerf ’s interiors are Geveke / Croonwolter & Dros WINDOWS: Alcoa
tough enough to take whatever is thrown at them. CONSULTANTS: Piet Oudolf, Delta TILE: Mosa
A true labor of love, this is van Milligen Bielke’s first built project Vormgroep (landscape); DOORS: Alcoa; Merford
and de Vries’s second (she was just 32 and he 37 when they won the CLIENT: Municipality Groningen
SUBMIT YOUR PROJECTS!
2023
Record
Interiors
We are looking for outstanding interiors projects –

residential, commercial, and public – completed within
the last year. These should address unique client needs
PHOTOGRAPHY: © NANNE SPRINGER

with creative, sustainable solutions, resulting in spaces
that are both beautiful and functional. Winning projects
will be selected by an editorial jury and published in the
September 2023 issue of Architectural Record.
DEADLINE:
MAY 17, 2023
Enter online: architecturalrecord.com/call4entries
MONTAUK SOFA, MONTREAL, BY COHLMEYER ARCHITECTURE
TOGETHER
WE CAN BUILD A BETTER FUTURE
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CEU DECARBONIZING CONCRETE
A NEW headquarters complex for Amazon, by

ZGF, is nearing completion in Virginia.
Material Makeover
The design and construction industry chips away at concrete’s outsize carbon footprint.
BY JOANN GONCHAR, FAIA
CONCRETE IS wonderfully versatile. It is mates, concrete is responsible for 11 percent of tion, known as calcination, produces a rock-
durable, resilient, and relatively inexpensive. It global CO₂ emissions. The main culprit? like substance called clinker, which is then
can be used to create utilitarian infrastructure Cement, the “glue” that binds all of concrete’s ground to produce cement. The energy re-
as well as expressive sculptural forms that range ingredients together. Even though it makes quired to maintain the kiln at the required
from the minimal to the muscular. And it has a up only 10 to 15 percent of the finished mate- temperatures naturally generates carbon, but
long track record—concrete has been around in rial by volume, cement is the primary con- so too does the calcination process itself,
some form since before the Romans. Given all tributor to concrete’s environmental footprint, which releases CO₂ and is responsible for
IMAGE: COURTESY ZGF
these attributes, it is easy to believe the often- due to its manufacturing method: raw materi- about 60 percent of the emissions of cement.
cited assertion that concrete is the most widely als, consisting chiefly of crushed limestone, This means that the most significant compo-
used substance on earth after water. are heated in a kiln to about 2,700 degrees nent of concrete’s carbon footprint is impos-
However, this ubiquitous material has a Fahrenheit, causing the kiln’s contents to sible to avoid unless the need for cement or
carbon problem. According to some esti- react and partially fuse. This chemical reac- clinker is reduced or eliminated.
93
the ZGF-designed headquarters for Amazon

now nearing completion in Arlington, Vir-
ginia, incorporates CarbonCure. “But it’s not a
silver bullet,” cautions Brian Earle, a ZGF
principal. At Amazon, it is being used in
combination with other strategies. For in-
stance, the mixes for the foundation, columns,
and shear walls for the two-building, 2.1 mil-
lion-square-foot complex replace about half the
cement with slag. “Introducing waste CO₂ into
the mix achieves a modest reduction, but,
combine it with other approaches, and the
benefits all add up,” says Michael Cropper, a
vice president at Thornton Tomasetti, the
project’s structural engineer. Some structural
components for the complex have a 52 percent
embodied-carbon reduction while, on average,
the project’s concrete is tracking at an at least
15 percent savings compared to typical build-
ings of the same type in the region.
The carbon reduction contributes to Ama-
zon’s corporate environmental, social, and
THE VARIOUS structural elements on Amazon’s new headquarters near Washington, D.C. (above), governance goals but is also integral to the
each have a unique carbon-reduction profile, but overall the savings average 15 percent (below). complex’s LEED Platinum target. Along
with the low-carbon concrete, the buildings
The good news is that there are already impact aim to use the material as CO₂ stor- have high-performance facades, stormwater
some well-established strategies for reducing age, including the one commercialized by capture for irrigation and cooling-tower
the proportion of cement in concrete. Con- Halifax, Nova Scotia–based CarbonCure makeup, and use graywater for flushing. The
tractors have long used so-called supplemen- Technologies. Its process, which the company all-electric headquarters will be supplied with
tary cementitious materials (SCMs) to replace licenses to concrete producers, injects waste 100 percent-renewable power from a utility-
some amount of cement in a typical concrete CO₂ from industrial gas suppliers into raw scale solar farm in southern Virginia.
mix. Among the most common are fly ash concrete, where it chemically bonds with Some of the more emergent solutions for
and ground granulated blast-furnace slag, cement and creates calcium carbonate (com- concrete’s carbon problem take their cues
both waste products of other industrial pro- monly known as limestone), increasing the from nature. Prometheus Materials, for in-
cesses, fly ash of coal combustion—usually at mix’s compressive strength and thereby re- stance, makes a product that starts with mi-
power plants—and slag of iron smelting. But ducing the total amount of cement needed. croscopic algae, which naturally sequesters
fly ash is increasingly hard to come by as coal- On average, the technique cuts CO₂ by 25 carbon. Based on the research of a team of
fired power plants shutter, while the supply of pounds per cubic yard of concrete, according scientists and engineers at the University of
IMAGES: COURTESY ZGF; PROMETHEUS MATERIALS (OPPOSITE, TOP); SOM (OPPOSITE, BOTTOM)
slag is also variable, since in the U.S. it is to CarbonCure. To date, the company has Colorado, Boulder, the technology depends
mostly imported, points out New York–based licensed its technology to more than 700 on a patent-pending photosynthetic biominer-
Amanda Kaminsky, director of sustainable customers in more than 30 countries. alization process. The resulting “bio-cement,”
construction for the Americas at developer About 90 percent of the concrete used in when mixed with aggregate (the granular
Lendlease and a former principal of Building
Product Ecosystems, a public-private partner-
High-strength
ship focused on material circularity. Now Floor Slabs Vertical Elements Mat Foundations
ground-glass pozzolan (GGP)—sourced from
post-consumer bottles and jars that might
otherwise go to the landfill—is gaining some
traction, since ASTM (American Society for
Testing and Materials) standards on its use in
15%
6% TOTAL
concrete were published in 2020. GGP REDUCTION
“scratches a few itches, both on the construc-
tion-supply chain side and on the municipal-
recycling side,” Kaminsky says. Lendlease is
using the product on an 800-unit housing 20% 52%
complex designed by architecture firm Mar-
vel, now under construction in Brooklyn.
Baseline Actual Baseline Actual Baseline Actual
Rather than replace cement, other strate-
gies for reducing concrete’s environmental EMBODIED-CARBON REDUCTION
material in concrete, often quarried rock and
sand), creates a zero-carbon building material
with physical properties similar, though not
identical, to those of concrete.
Last June, the startup secured $8 million
in Series A financing and, in January, re-
ceived ASTM certifications for its load-bear-
ing and non-load-bearing masonry units.
Loren Burnett, president and cofounder, says
the company is also working on precast and
ready-mix products. Prometheus plans an-
other capital-raising round in late summer,
and is targeting early 2024 for completion of a
manufacturing facility.
SOM has an equity stake in Prometheus.
“We are always looking for innovative prod-
ucts that fill a gap in the market and that
align with our values,” explains Brant Coletta,
a managing partner in SOM’s San Francisco
office. The firm made the bio-cement central
to Urban Sequoia, its conceptual carbon-
absorbing tower unveiled at COP 26, the
United Nations climate conference held in
Glasgow in late 2021. For the same event, it
designed a pavilion of Prometheus bricks,
though it was not realized due to the pan-
demic. In parallel with Prometheus’s ongoing
research and development, the firm continues
its own small-scale experiments to better
understand the unique characteristics of the
material. The bio-cement has, for example,
more tensile capacity than typical concrete,
offering the possibility of omitting rebar,
further reducing carbon emissions, points out
Yasemin Kologlu, an SOM design director.
Los Gatos, California–based Blue Planet THE BIO-CEMENT developed by Prometheus includes microalgae bioreactors (top). SOM designed
a pavilion of the material for the 2021 United Nations climate conference in Glasgow (above).
Systems has taken a different tack. Rather
than focusing on cement, the company is
rethinking aggregate, since it is the largest and construction team for a commercial-scale include Colorado, Oregon, Washington,
component of concrete, comprising up to 90 production facility, says David Gottfried, Minnesota, and New York.
percent of the material by weight. At its Bay Blue Planet’s chief global impact officer. The legislative trend should fuel demand
Area pilot facility, Blue Planet captures the Use of low-carbon concrete strategies— not only for low-embodied-carbon materials,
CO₂ emitted by a nearby natural gas–fired both leading edge and well established— but also for environmental-product declara-
power plant, combining it with alkaline should get a boost from recent legislation at tions (EPDs)—reports commissioned by
industrial-waste materials, including concrete the Federal and state levels. The Inflation manufacturers that document the ways in
demolition debris. The resulting reaction Reduction Act (IRA), signed by President which their products affect the environment
“grows” calcium carbonate that is 44 percent Biden in August, includes funds to incentiv- across several impact categories, including
CO₂ by mass. According to the company, a ize the use of building products with smaller greenhouse-gas emissions, or global-warming
cubic yard of concrete using its product in environmental footprints in public-infrastruc- potential (GWP)—since many of the new
place of conventional aggregate can perma- ture projects and government-owned build- policies require them. The GSA, for instance,
nently store 1,120 pounds of CO₂, more than ings. It provides nearly $4.5 billion, for recently published guidance for projects fund-
offsetting the 600 pounds of carbon that identifying and procuring climate-friendly ed through the IRA, setting EPD require-
would typically be embodied in that concrete, materials, to the Environmental Protection ments and GWP limits.
making it carbon negative. Agency, the General Services Administration Once completed, EPDs are generally
Blue Planet aggregate has been used thus (GSA), and the Department of Transporta- included in databases such as EC3 (also
far in demonstration projects, including one at tion. At the state level, similar “buy clean” known as the Embodied Carbon in Con-
the San Francisco International Airport. The policies have already been instituted or are struction Calculator)—a free tool, adminis-
company plans to expand its pilot plant later wending their way through the legislative and tered by the nonprofit Building Transparency
this year and is assembling an engineering policy-making processes in jurisdictions that —that now includes nearly 80,000 concrete
95
SANKEY DIAGRAM
EPDs, searchable by data points like manu- nation, which fall within the contractor’s area
facturer, region, and compressive strength. of responsibility, says Cropper.
Such databases allow comparisons among ZGF sees promising signs that low-carbon
products that are functionally equivalent and concrete, whatever its form, is gaining trac-
help project teams set GWP-reduction goals tion within the building industry. Not so long
and track their progress through the life of a ago, when the firm told contractors that the
project. design team wanted to reduce a project’s
Many design teams maintain that the most global-warming potential, the response was
effective approach for implementing low- typically, “Global-warming what?” says Earle.
embodied-carbon concrete on a project is not But now, “they know what GWP is, and they
to mandate a particular mix composition or a know how to reduce it.” n
specific technology. Instead, architects and
engineers should specify desired performance
criteria—including compressive strength and
To earn one AIA learning unit (LU), including one hour of
maximum GWP. Magnusson Architecture
health, safety, and welfare (HSW) credit, read “Material
and Planning has taken this route for Dekalb
Makeover,” review the supplemental material found
Commons. The two-building, 85-unit afford-
AT DEKALB COMMONS, an affordable-housing at architecturalrecord.com, and complete the quiz at
able-housing project in Brooklyn’s Bedford
complex in Brooklyn (above), Magnusson continuingeducation.bnpmedia.com. Upon passing the
Stuyvesant neighborhood, slated to start
Architecture and Planning aims to reduce test, you will receive a certificate of completion, and
construction this summer, is targeting Passive
IMAGES: COURTESY MAP (TOP); NIGHTNURSE IMAGES/MAP (BOTTOM)

embodied carbon by 20 to 30 percent (top). your credit will be automatically reported to the AIA.
House certification and an overall embodied-
Additional information regarding credit-reporting and
carbon reduction of 20 to 30 percent (record, The Amazon design team also emphasizes
continuing-education requirements can be found at
October 2022). Magnusson hopes to replace the importance of performance specifications continuingeducation.bnpmedia.com.
up to 40 percent of cement in the foundations rather than prescriptive ones. “As a structural
and slabs on grade with GGP rather than fly engineer, I can’t design mixes,” says Thornton Learning Objectives
ash or slag. The architects would prefer the Tomasetti’s Cropper. He notes that with 1 Explain why typical concrete is a high-embodied-
newer SCM in part because it comes from a 200,000 cubic yards of concrete on the project carbon material.
more renewable waste stream, and prelimi- (enough to fill about 60 Olympic-size swim- 2 Outline the cement-manufacturing process.
nary information from a local supplier indi- ming pools), there are more than 40 unique
3 Discuss research and recent innovations in
cates that the carbon-reduction goals can mixes, depending on their location in the
concrete.
easily be met. Even so, the project’s perfor- buildings. All have different performance
mance specification presents GGP as an criteria, transportation requirements, 4 Discuss recent legislation and policy that relates to
idea but not a prerequisite for the concrete strength-gain timelines, and formwork-strip- concrete.
subcontractor selection, says Sara Bayer, the ping needs—parameters that influence con- AIA/CES Course #K2305A
firm’s director of sustainability. struction sequencing, scheduling, and coordi-
Academy of Digital Learning
8 AIA LU/HSW
3 IDCEC CEU/HSW
1 GBCI CE Hour
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LIGHTING
Galaxy Digital
PHOTOGRAPHY: © NAHO KUBOTA
Young Projects
The SEED
BY DAVID SOKOL
99
LIGHTING
GALAXY DIGITAL had reservations. a day of lost community,” firm founding projects. In 2021, the firm completed an
The New York–based company, which partner Bryan Young recalls Galaxy founder apartment in nearby Tribeca using a series
specializes in digital assets and blockchain and CEO Mike Novogratz saying, “but we of plaster panels that had been cast on re-
technologies, had found a 36,000-square- also need to aim for an excitement that’s cycled furniture foam held in tension by
foot office in Battery Park City to replace its unlike a financial institution.” For this reason, hand-bent metal rods. Installed on the
SoHo headquarters and accommodate rapid the architects began distinguishing Galaxy ceiling, the panels evoke historical orna-
growth. Yet while commissioning Young from its workaday neighbors. Young Projects mentation like plaster rosettes and tin ceil-
Projects to oversee the new office design and and its lighting collaborator, fellow Brooklyn- ings yet seem avant-garde. When Young
buildout in late 2021, its top executive fret- based studio The SEED, were given six showed it to Novogratz, his client likened
ted that moving to a neighborhood associ- weeks to finalize a concept with a completion the ceiling to cryptocurrency’s combination
ated with investment banking could suggest date of mid-2022. of the familiar and the futuristic. By adapt-
that Galaxy was just another voice in the Young Projects, a 2020 Record Design ing such existing research to the Galaxy
crowd, rather than a leader in the emerging Vanguard firm, is known for an exploration Digital interior, the architect was able to
business of cryptocurrency. of aesthetics and materials in its residential create an aura of strangeness at the project’s
“Every day we’re not in the bigger space is and commercial interiors and custom house necessary warp speed.

4
4
5
1
5
3
2
5
5
A lively media ceiling in the elevator lobby
(page 99) leads to a surprisingly soft and tactile
reception area (above), subtly illuminated by 5
backlit mirrors (top, right) and recessed fixtures.
4
4
Young identified the elevator lobby and
6
reception as the best spaces for unique expres-
sion, comparing them to a threshold, where
occupants may check their preconceptions of
financial services. The elevator lobby initiates 0 30 FT.
FLOOR PLAN
10 M.
this mental reset with a low-resolution media
ceiling by The SEED on which text from
1 ELEVATOR LOBBY 4 WORKSTATIONS
cryptocurrency’s founding document (a white
paper about Bitcoin released in 2009) tra- 2 RECEPTION 5 CONFERENCE ROOM
verses the screen in a Star Wars–style crawl. 3 CAFÉ 6 GATHERING SPACE
For the walls flanking the reception area,
101
LIGHTING
Curved glass walls and linear tube lights enliven

workspaces (above and left), while in the café
(opposite), bold pendants are offset by discreet
ceiling mounts concealed by draping chains.
the architects developed a proprietary surface

of plaster panels whose valleys and ridgelines
connect, no matter how each component is
rotated. According to Golsana Heshmati,
founder of The SEED, this tactile surface is
illuminated by low-output LED wall washers
emitting a 3000-Kelvin glow; the luminaires
are spaced widely apart to make sure their
presence does not compete with the sculp-
tural walls, while still calling attention to the
6-inch depth of the panels.
Pink furnishings dot the reception area
for an additional unexpected touch. Also
surprising are three suspended round backlit
mirrors, which could be seen as figurative
planets, providing ambient light. Heshmati
describes them as an infusion of human scale
to mitigate the expansiveness of the seating
area. She adds that the mirrors underscore
Galaxy’s interest in community, because
“they emphasize the importance of every
person and of face-to-face communication.”

Prior to Galaxy’s occupancy, the Battery
Park City office had been recently renovated
for a solutions-driven data-science and clini-
cal-research company. For the workstations,
offices, and collaboration spaces located
beyond reception, Young Projects and The
SEED maximized reuse of the resources that
were left behind. Both studios treated these
interiors as opportunities for the connection
and exchange that had been lacking in the
SoHo headquarters. Young explains that his
team employed sinuous glass partitions and a
variety of carpet tiles to encourage staffers to
use interior pathways for circulation as well
as gathering. And while Heshmati notes that
the lighting designers left much existing
overhead infrastructure intact, they linked
long linear tubes containing wide-aperture
LEDs into graphic ceiling elements for way-
finding. Similarly, in the office’s central cafe,
rows of pendant lights interwoven with
aluminum linked chains simultaneously hide
ceiling-mounted systems and distinguish
banquette and bar seating from other vi-
gnettes. “There’s a very explicit difference
between how you understand the ceiling
versus how you understand the plan,” as
Young explains. “The plan is about move-
ment, whereas the ceiling is about spatial
definition. These are ideas about promenade
and interaction that perhaps you could mani-
fest only in a space like a crypto office.” n
Credits
ARCHITECT: Young Projects — Bryan Young,
design lead; Mallory Shure, partner in charge;
Udoiwod Udoiwod, Billy Hutton, Daniel Garcia,
Caleb Ehly, Isabella Calidonio, Benjamin
Smithers, Joanne Yau, project team
ENGINEERS: Robert Derector Associates
(m/e/p/fs)
GENERAL CONTRACTOR:
JRM Construction Management
CONSULTANTS: The SEED (lighting designer);
Once–Future Office (signage/wayfinding);
Duggal Visual Solutions (signage fabrication)
CLIENT: Galaxy Digital
COST: withheld
COMPLETION DATE: December 2022
Sources
HARDWARE: Ives; Dorma
INTERIOR FINISHES: Fenix; Cambria;
Casalgrande Padana; Tilebar; Stile/LVWood;
Interface; The Rug Company; Rug Star; Tate;
Fabricoil; Master Works
LIGHTING: USAI; 3G Lighting; Artemide; XAL;
Luceplan; Vode; Delta Light; Eklipse; Lutron
FURNISHINGS: Halcon; Haworth; OFS; Cassina;
Miniforms; DDC; Bernhardt; Maharam; Knoll;
KVADRAT; Muuto; West Elm; DWR; Davis
103
PRODUCTS Lighting
Glowing Introductions
New fixtures channel classics or reimagine them
with flexibility.
BY SHEILA KIM
Berlin
A few years ago, designer Christophe
Pillet created the disc-shaped Berlin
ceiling and wall fixture for Oluce. As a
follow-up, he’s translated that design into
a floor lamp that features a slim tubular
stem with two LED-illuminated discs,
which are rotatable, to aim light where it’s
needed. The floor version is finished in
anodized brass or matte black.
oluce.com
Northport Constellation
Designed in collaboration with Robert Architect David Rockwell and his eponymous firm are well versed in
A. M. Stern Architects, this outdoor designing environments where “stars” take center stage, from numer-
collection by Landscape Forms is a ous performing arts venues and stage sets to the backdrop for the
contemporary take on the traditional 93rd Annual Academy Awards. But stars of the celestial kind—such as
acorn streetlamp. It comprises a 3' tall those depicted on the fabled ceiling of New York’s Grand Central
path light and various area-light con- Terminal concourse—informed Rockwell Group’s latest collaboration
figurations in three heights. An op- with Czech glass manufacturer Lasvit. Constellation is a collection of
tional decorative LED-lit stem recalls luminaires that recreates some of the sky’s most recognizable stellar
the classic gaslight. formations. Cassiopeia (above) and Ursa Minor—both available as wall
landscapeforms.com sconces—are low-profile horizontal chandeliers with glass-domed
points of light connected by handcrafted metalwork; Tri Stars is a wall
sconce with three luminous orbs; Polaris is a floor lamp with a two-
sided dome, its light source appearing to float within; and Gemini is a
touch-control portable table lamp.
lasvit.com
Saber Mini
A linear suspension luminaire from PureEdge Lighting, Saber Mini is
tension-hung, as opposed to being suspended from the ceiling, making it
suitable for open and open-air spaces. Diffused by a small, round silicone
lens, the system comes with all necessary parts—including watertight
barrel connections, turnbuckles, and aircraft cable—and can be specified
with tunable or fixed white color temperatures, as well as RGB and RGBW
illumination.
pureedgelighting.com
104
AJ Oxford Lamp
Highline
Louis Poulsen is reissuing a classic
A collaboration between RBW and industrial designer Jonas Damon, this easily
Arne Jacobsen lamp that the
adaptable system is part linear suspension, part track lighting, and part deco-
Danish architect originally con-
rative luminaire, depending on which components are specified. These include
ceived in the 1960s, for his all-
pendants (one style offering felt shades, above) and spotlights, all of which
encompassing design of St.
hang from a slim suspension beam with or without an integrated linear uplight.
Catherine’s College in Oxford,
rbw.com
England. Today the AJ Oxford is
available as a pin-mount or classic
table lamp (right), with the classic
offered in 11" and 16" heights, with
or without the metal shade.
louispoulsen.com
Multiverse
A variation on the ubiquitous track system, Juniper Lighting’s
Multiverse features a flat, painted ribbon-style track that is an
important part of the overall design. Employing a low-voltage
power-distribution system, connector nodes, and pivot com-
ponents, the track allows for flexible placement, rotating, and
repositioning of up to 16 magnetic miniature spots on a single
run. In addition to standard colors—matte pure white, satin
black, satin aluminum, and satin brass—it’s customizable in
any desired color to meet a project’s aesthetics.
juniper-design.com
Pivotaire
A plaster-in recessed linear system by Optique Lighting, Pivotaire comes
in five configurations—straight, picture frame, zigzag, wrap (for corner
and wall-to-ceiling transitions), and custom—that eliminate the need for
expensive junction boxes, thanks to the system’s Nano Linear Light
Engine–powered endcaps.
optique-lighting.com
105
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The Americans with Disabilities Act (ADA), landmark civil rights legislation that
increases access and opportunity for people with disabilities across community
life, has been the law of the land for more than three decades. From ADA signage
and designing ADA-compliant commercial showers and bathrooms to modular
construction that embraces a new vision for accessibility, the built environment
industry has gone beyond mere code adherence, working to find new and
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Big Glass, Big Returns
Sponsored by Marvin Windows and Doors
p110
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 IDCEC CEU/HSW PM RE ST

Concrete Innovations
Sponsored by National Ready Mixed Concrete Association (NRMCA)
p112
CREDIT: 1 AIA LU/ELECTIVE; 0.1 ICC CEU; 1 GBCI CE HOUR PM ST SU

Enhancing the Stone
Sponsored by StonePly
114
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU BE IN PM
CATEGORIES
BE BUILDING ENVELOPE DESIGN PM PRODUCTS AND MATERIALS ST STRUCTURAL
IN INTERIORS RE RESIDENTIAL SU SUSTAINABILITY
Courses may qualify for learning hours through most Canadian provincial architectural associations.
109
EDUCATIONAL-ADVERTISEMENT
This Norwalk residence

uses multi-slide doors and
casement crank out windows
to optimize the view as if
the home is floating on Long
Island Sound.
Big Glass, Big Returns CONTINUING EDUCATION
1 AIA LU/HSW 0.1 ICC CEU

How windows and doors can deliver on
light, air, and views 1 IDCEC CEU/HSW
Sponsored by Marvin Windows and Doors | By Erika Fredrickson Learning Objectives

After reading this article, you should
be able to:
1. Discuss the trend of big glass in
B
windows and doors that achieve
ig glass is a rising trend in single- light, air, and views delivers big returns for architectural aesthetics.
family residential design. Architects both architect and occupant. 2. List the emotional and health benefits
looking for big-glass solutions have operable windows and doors can
a myriad of window and door choices to BIG GLASS ON THE RISE provide when it comes to air, light,
achieve their aesthetic design goals. These The world of glass—and big glass, in par- and biophilia.
solutions help achieve some of the most ticular—is expanding. The term "big glass" 3. Explain why glazing coatings are a
important elements in design—light, air, is used to describe the increasingly popular critical element to improve energy
and views—which are key to the health trend for glass panels and assemblies that efficiency and control solar heat gain.
and well-being of occupants. Too often, are larger than traditional windows and 4. Describe important performance
big glass solutions are seen as exclusive to doors in residential design. These panels attributes architects should consider
when specifying for windows and doors.
high-end custom-built homes. However, and assemblies allow more natural light to
today the concept of introducing light, air, enter a space, offer opportunity for better
and sweeping views to every interior space ventilation, and provide more unobstructed To receive AIA credit, you are required to
is attainable for many residential projects. views of the surrounding environment. Big read the entire article and pass the quiz.
Flexible, healthy, comfortable spaces that glass can range from assemblies of smaller Visit ce.architecturalrecord.com for the
provide work-life balance are key goals windows that provide a big-glass effect to complete text and to take the quiz for free.
in the post-pandemic life/work home large-panel windows and doors that appear
environment. This course looks at some to take up entire walls.
of the latest window and door designs that Big glass is popular in architectural AIA COURSE #K2305P
optimize glass and shows how a focus on design because it creates transparency and

EDUCATIONAL-ADVERTISEMENT BIG GLASS, BIG RETURNS

openness, blurs the lines between indoor and
outdoor spaces, and contributes to the health,
safety, and well-being of occupants. But its
popularity has soared even higher in recent
years. In the past, more glass meant high
energy bills, drafty interiors, outside noise,
and aesthetic limitations.
Modern glazing systems are stronger,
more energy-efficient, and offer better insula-
tion than previous versions. With the use of
advanced coatings, glazing, and insulation,
architects can design buildings that are not
only visually stunning but also environmen-
tally friendly and more durable. In the long
run, durability can translate into cost savings.
Big glass is popular because of the trend
toward a more a contemporary and modern
aesthetic in home design which lends itself to
clean lines and larger windows and doors. It
is also popular because of the growing trend
of sustainability and energy efficiency in
architecture. Larger scale window and door
assemblies can help reduce energy consump- A Seattle-based 1910s-era colonial revival renovation features high-performance double-hung
tion by allowing more natural light to enter, windows with a contemporary classic look that maximizes views but doesn’t clash with the
reducing the need for artificial light. By original style.
leveraging quality window and door solutions
with the appropriate U-Factor, Solar Heat Gain
Coefficient, and Visible Light Transmittance based on the need to have adults working Innovations in home design inspired
rating, a building's overall energy consump- from home, school children learning from by pandemic life have not decreased, even
tion can be reduced, which is increasingly home, or a mix of people simply perform- as many people have returned to offices.
important as society becomes more focused on ing more of their daily activities from home The America at Home study—a nationally
reducing our carbon footprint. than was previously typical. representative survey of U.S. adults ages 25-74
These days, new innovations, technologies, A renewed interest in home design with household incomes of $50,000+ per
and standards lead to big-glass products and and renovations designs and renovations year—shows an increase among Americans
designs lead to window and door solutions that happened relatively quickly once pandemic since the pandemic in the perception that a
open up design options. Residential architects, shutdowns began in the U.S. In a survey home needs to be designed to support health
builders and developers can now incorporate conducted by Houzz in June 2020, 71% of and well-being. The desire to customize
natural light, views, and air that meet their homeowners reported that they were thinking homes in more innovative ways—and with
aesthetic vision. And, just as importantly, it about or actively working on home improve- that central goal in mind—has led to an in-
allows them to find solutions for homeowners ment projects, with 60% of respondents citing crease in new products and technologies. And
living in a post-pandemic world in which the pandemic as their reason. Additionally, those technologies—along with performance
health, safety, well-being, and sustainability 47% of respondents said they were upgrading standards and code requirements—help
are of the utmost importance. home offices or workspaces, and 42% were architects realize architectural visions in
improving outdoor living spaces. which they can provide clients better access to
Responding to Human Needs Google Trends also showed early data natural light, air, and views.
The pandemic and associated work restric- indicating that browser searches for home
tions created a dramatic surge of interest in office ideas increased by 110% between
home designs—for both new and renovation March and May 2020. And, in a survey
projects. For many people, the newfound conducted by the American Institute of Erika Fredrickson is a writer/editor focusing on
reality of spending much more time at home Architects in August 2020, 68% of architects technology, environment, and history. She frequently
instead of at work or out in public places mo- reported that they had seen an increase in contributes to continuing education courses and
tivated many to make changes in the places demand for home offices, and 58% had seen publications through Confluence Communications.
where they live. Some of those changes were an increase in demand for exercise rooms. http://www.confluencec.com
Marvin is a fourth-generation family-owned and led business, headquartered in Warroad, Minn., with more than 7,000
employees across 16 cities in North America. The Marvin portfolio of products for builders, architects and homeowners is
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distributed nationally through a network of independent dealers. Visit Marvin.com to learn more.
111
The Connecticut Department of Energy and Environmental

Protection (DEEP) is poised to complete its new Western District
Headquarters at Black Rock State Park in Watertown in fall 2023. The
new building will utilize innovative concrete technologies and will be
the first net-zero and LEED Platinum building built by the state.
Concrete Innovations CONTINUING EDUCATION
Reducing the carbon footprint with new 1 AIA LU/ELECTIVE
technologies that meet future challenges 0.1 ICC CEU
Sponsored by National Ready Mixed Concrete Association (NRMCA) 1 GBCI CE HOUR

By Erika Fredrickson
Learning Objectives
be able to:
C
1. Describe new technologies used in
utting-edge building projects must buildings that help with mitigation. concrete manufacturing that utilize
use durable materials that also help Designing energy efficient buildings that are recycling of materials.
reduce carbon footprint. Concrete resistant to natural disasters can signifi- 2. List ways in which these innovative
is the material of choice for the tallest cantly reduce life-cycle carbon emissions of concrete products can improve
buildings in the world and infrastructure a building. But another key strategy involves project performance.
designed to last centuries. This article ex- choosing sustainable building materials that 3. Explain how to implement the latest
plores how new products using pozzolans, have a lower carbon footprint. With new concrete innovations in building and
calcined clay, biochar, and other innova- innovations and technologies, concrete is one infrastructure projects.
tions enhance a product that is nearly 5,000 material that is proving it has the potential to 4. Discuss the importance of
incorporating new technologies to
years in development and provides another support these reduction goals.
enhance resilience and sustainability
pathway for meeting future challenges in In Connecticut, one state agency is in the built environment.
the built environment. The article includes embracing the challenge of climate change
the histories, compositions, and environ- mitigation in full force—and aptly so.
mental impacts of these technologies and The Connecticut Department of Energy To receive AIA credit, you are required to
offers case studies to show how innovation and Environmental Protection (DEEP) is read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
is being put into action. tasked with mitigating negative energy and complete text and to take the quiz for free.
environmental impacts, and so it makes
CONCRETE INNOVATIONS OVERVIEW perfect sense that the agency should
In recent years, there has been a push in demonstrate its own mission. DEEP’s new
architecture to design and construct build- Western District Headquarters at Black Rock
ings that have a lower carbon footprint. This State Park, located in Watertown, is poised
trend is driven by the real need to address for completion in fall 2023, and will be the
the global challenge of climate change and first net-zero and LEED Platinum building
the recognition that buildings are significant built by the state.
contributors to greenhouse gas emissions. The building will be the result of several AIA COURSE #K2305Q
There are several strategies for constructing years of planning. It will allow the agency

EDUCATIONAL-ADVERTISEMENT CONCRETE INNOVATIONS
Photo courtesy of Atelier Ten (top); TLB Architecture, LLC (bottom)

to consolidate staff from nine outdated
buildings that have been, until now, located
in five separate towns. Combining them into
one building will save energy and money,
and it will increase efficiency. The new
main building will be designed to achieve
LEED Platinum certification and net-zero
energy standards. A fully integrated approach
to building systems and assemblies was
required to maximize efficiency even more
and minimize environmental impacts. It
became clear to the building’s designers that
a thermal mass wall would optimize the site’s
solar orientation to reduce overall energy
consumption. A Trombe wall was designed
to provide passive heating during the winter
months, passive cooling during the summer,
and improved natural ventilation.
With the combination of earth sheltering,
photovoltaics, a geothermal system, radiant
polished concrete slabs, and a carefully
designed building envelope, the building’s
energy consumption will be significantly
lower than a comparably sized traditional
building. It will result in a 30-40% reduction
in energy consumption when compared to
a building designed to current building and
energy codes. The building will be finished The designers for the DEEP project designed a thermal mass wall utilizing concrete made with
post-consumer ground-glass pozzolan cement to optimize the site’s solar orientation all year
with wood grown from Connecticut State
round. The Trombe wall provides passive heating and cooling and improves natural ventilation.
Forests and milled at DEEP’s sawmill.
The use of innovative concrete in
this project is key to reducing the carbon
footprint. Concrete is a durable building sustainable, and high-performing pozzolan savings and ways to make government
material that provides environmental benefits that dramatically reduces embodied CO2 operations more sustainable.
due to its longevity. But its environmental emissions in concrete. The concrete sector is continually
impact can be reduced with new technolo- This ground-glass pozzolan was seeking new sources of SCMs to help make
gies. Traditional cement used in concrete manufactured with 100% post-consumer durable, sustainable, and cutting-edge
accounts for roughly 88% of its emissions, glass sourced within a 50-mile radius and designs, such as the DEEP headquarters.
which means replacing traditional portland manufactured in Connecticut, just 16 As a result, the industry is exploring new
cement with alternative materials can have a miles from the site. The local sourcing and innovations and old technologies made new
big impact. manufacturing also help reduce embodied again. In this article, we will dig deeper
To reduce the carbon footprint of the carbon by way of reducing transportation. into the history, composition, and benefits
DEEP facility, the plans call for 40% cement This pozzolan contains no crystalline of SCMs such as ground glass pozzolans,
replacement in the structural concrete mixes silica, heavy metals, or known carcinogens, natural pozzolans, and limestone calcined
with a high-quality ground glass pozzolan—a making it a nontoxic material. Independent clay cement.
supplementary cementitious material (SCM) testing of the product shows it at 56 kg CO2e
made from 100% recycled post-consumer in comparison to the average global warm-
glass. For this project, the pozzolan was ing potential (GWP) for portland cement of
evaluated to determine its effectiveness, 1,040 kg CO2e, resulting in 95% less impact. Erika Fredrickson is a writer/editor focusing on
availability, and carbon reduction potential. The new headquarters aligns with the technology, environment, and history. She frequently
A variety of mixes were evaluated to make state’s goals to mitigate the climate crisis contributes to continuing education courses and
up the 40%. The ground-glass pozzolan with an effort by state government to lead publications through Confluence Communications.
product for this project is considered a safe, by example and identify opportunities for http://www.confluencec.com
Build with Strength, a coalition of the National Ready Mixed Concrete Association, educates the building and design com-
munities and policymakers on the benefits of ready mixed concrete, and encourages its use as the building material of
choice. No other material can replicate concrete’s advantages in terms of strength, durability, safety and ease of use.
113
Enhancing the Stone CONTINUING EDUCATION
1 AIA LU/HSW 0.1 ICC CEU

Stone veneer panels on aluminum honeycomb
combine the beauty of natural stone with the design Learning Objectives
freedom, strength, and lightness of metal panels be able to:
1. List the benefits of using natural
Sponsored by StonePly | By Robyn M. Feller thin stone veneer on aluminum
honeycomb panels in a variety of
applications.
F
2. Compare the design freedom,
or thousands of years, stone has been Over the past hundred years or so, aesthetics, cost, service life, safety, and
a much-lauded ingredient in building though, the use of stone in construction has durability provided by stone veneer on
design and construction—and with waned. Traditional stone masonry is rarely aluminum honeycomb panels against
good reason. As a natural material, stone has used in modern buildings; its main draw- traditional stone cladding.
many appealing qualities, including its un- backs have been its unwieldy weight, high 3. List the varieties of stone available in
thin natural stone veneer on aluminum
matched durability, versatility, and unlim- labor costs, and quarry, cut, and transport
honeycomb panels.
ited beauty. Design choices know no bounds challenges in getting stone from point A to
4. Discuss how the characteristics of
with stone’s wide-ranging variety of colors, point B. Today’s architects, however, looking stone veneer on aluminum honeycomb
types, patterns, and textures. Used over the for innovative ways to incorporate stone’s panels can lead to achieving a project’s
centuries for everything from mighty an- many benefits into their current projects, no green building goals.
cient Greek and Roman structures, Egyptian longer need to dismiss stone as an option.
pyramids, and English burial chambers to
To receive AIA credit, you are required to
graceful churches and temples around the
read the entire article and pass the quiz.
globe, stone has stood the test of time as a Visit ce.architecturalrecord.com for the
premier material choice. complete text and to take the quiz for free.
Stone veneer panels on aluminum Robyn M. Feller is a freelance writer and editor spe-
honeycomb provide an innovative alterna- cializing in the architecture, design, and construction
AIA COURSE #K2305N
tive to traditional stone cladding. industry. www.linkedin.com/in/robynfeller
StonePly has more than 25 years of experience in stone facades all over the world. We are the oldest and most experienced
producer of stone on aluminum honeycomb still under original ownership. We offer the finest quality stone and manufactur-
ing. From our engineers to our craftsmen, and from quarry to finished installation, we care for the product and build in qual-
ity at each step. www.stoneply.com

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can divide spaces, punctuate spaces or create July 14–October 15, 2023
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emphasize a community-centered approach to monographic exhibition on Yasmeen Lari, nance. Four diverse panels will convene at the
shaping public space and address larger social Pakistan’s first woman architect. Born in Harbor School on Governors Island to discuss
concerns, including gentrification, privatiza- 1941, she established her own office in 1961, highway removal, alternative transportation
tion, urban neglect, and social inequity. See beginning her career as a pioneer of Brutalism systems, community land trusts, and commu-
artomi.org. and designing Modernist projects for the nity visions for the future. See the-ipa.org
country’s middle class before founding the
Beauty in Enormous Bleakness: The humanitarian group Heritage Foundation of
Pakistan in 1980. In 2005, Lari initiated a
Competitions
Design Legacy of the Interned Generation
of Japanese Americans zero-carbon self-build movement for climate Architecture at Zero 2023
St. Louis refugees and the landless, and has built tens Deadline: June 15, 2023
Through July 9, 2023 of thousands of Pakistani homes using tradi- The competition, presented in part by AIA
An exhibit at the Washington University St. tional technologies and low-cost, low-carbon California, is seeking design proposals for an
Louis’s Thomas Gallery explores the lives, materials. See azw.at/en. agricultural center in Allensworth, the first
work, and impact of Japanese-American town in the state to be founded, financed, and
architects who survived the World War II Events governed by African-Americans. The compe-
U.S. internment camps, concentrating on four tition brief invites students and professionals
architects who studied at the school following BQE 2053 to design proposals that recognize and ad-
their release: Gyo Obata, Richard Henmi, New York vance the site’s aspiration to become a desti-
George Matsumoto, and Fred Toguchi. See May 20, 2023 nation for sustainable agriculture and Black
library.wustl.edu. A free one-day symposium hosted by the history. See architectureatzero.com.
Institute for Public Architecture will discuss
Seeking Zohn reuse opportunities for the Brooklyn Queens E-mail information two months in advance to
Los Angeles Expressway, which has been falling into schulmanp@bnpmedia.com.
Through July 23, 2023 disrepair due to decades of deferred mainte-
Architect and engineer Alejandro Zohn
(1930–2000), a Jewish émigré whose family
fled Nazi-occupied Austria for Mexico during
World War II, is little known outside his
adopted country, but built widely in Guada-
lajara from the 1950s through the 1990s. The
MAK Center for Art and Architecture pres-
ents the first Los Angeles exhibition of INSTANT DOCK
Zohn’s work, at the Schindler House in West
Hollywood, featuring commissioned photog-
raphy and video by artists Adam Wiseman,
Lake Verea, Onus Luque, Sonia Madrigal,
and Zara Pfeifer, alongside select items from
the architect’s archives. For more information,
see makcenter.org.
Norman Foster
Paris
Through August 7, 2023
The Centre Pompidou presents the largest
retrospective so far dedicated to the prolific
career of Pritzker laureate Norman Foster.
The exhibition includes drawings, work- LAG IT DOWN & PLUG IT IN YOU HAVE AN INSTANT DOCK!
books, and prototypes of almost 100 projects
from the past six decades, including the Carré
Services An
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All He
Height Trucks
d’Art in Nîmes, France (1993), the Hong
Kong International Airport (1998), and the View All 26 Models At
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Apple Park in Cupertino, California (2017).
See centrepompidou.fr/en.
Yasmeen Lari: Architecture for the Future

Vienna
Through August 16, 2023
Austria’s national architecture museum, the
Architekturzentrum Wien, presents the first
1-800-THE-DOCK
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SNAPSHOT
Atop an arrow-shaped community center

designed by Adjaye Associates, an expansive
perforated steel canopy by indigenous Australian
artist Daniel Boyd filters refracted light onto a public
plaza in Sydney. Inspired by notions of shelter and
placemaking during both the country’s colonial period
and the present day, the new building and plaza offer
passersby a reprieve from the city’s hustle and bustle
and a connection to the area’s origins. The timber-and-
steel community center, whose form references the
pitched-roofed houses of the early settlers, includes a
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Ilana Herzig
PHOTOGRAPHY: © TREVOR MEIN

The DESIGN:ED Podcast by Architectural Record takes you inside
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Now you can get tough on disruptive noise

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